発売日: 2018/5/11輸入盤USレーベル: Arcana Records収録曲: 1.1 I. Praeludium1.2 II. Variatio - Aria Allegro - Variatio - Adagio - Finale1.3 Romanesca Per Violino Solo E Basso Se Piace1.4 Sonata Quarta Per Il Violino Per Sonar Con Due Corde1.5 I. Preludio. Adagio1.6 II. Allemanda. Allegro1.7 III. Sarabanda. Largo1.8 IV. Gavotta. Allegro - with Variations for the Harp1.9 V. Giga. Allegro1.10 I. Adagio1.11 II. Fuga1.12 III. Siciliana1.13 IV. Prestoコメント:J. S. Bach, Biber, Marini, Corelli: four leading figures of Baroque music that no one would associate with the harp. However, they worked in environments where there is ample evidence that harpists were active, and where a solo harp repertory certainly existed, even if it was never written down. This ambitious project starts out from that premise, and is the result of in-depth research into original sources. It suggests that the repertory for violin, an instrument that shares many idiomatic features with the harp, was long a source of inspiration for harpists. Hence, here some of the best-known and most virtuosic pieces for the violin have been arranged for harp, giving these compositions a new lease on life and shedding light on new and unexpected nuances and reflections. Flora Papadopoulos, after significant collaborations with ensembles such as Cappella Mediterranea/L. Garcia Alarcon, Concerto Italiano/R. Alessandrini, Matheus/J-C Spinosi and Laboratorio '600/F. Pavan, now makes her first solo album. Exploring personal, highly experimental and empirical paths, she revives a fascinating musical practice that has been long lost.J. S. Bach, Biber, Marini, Corelli: four leading figures of Baroque music that no one would associate with the harp. However, they worked in environments where there is ample evidence that harpists were active, and where a solo harp repertory certainly existed, even if it was never written down. This ambitious project starts out from that premise, and is the result of in-depth research into original sources. It suggests that the repertory for violin, an instrument that shares many idiomatic features with the harp, was long a source of inspiration for harpists. Hence, here some of the best-known and most virtuosic pieces for the violin have been arranged for harp, giving these compositions a new lease on life and shedding light on new and unexpected nuances and reflections. Flora Papadopoulos, after significant collaborations with ensembles such as Cappella Mediterranea/L. Garcia Alarcon, Concerto Italiano/R. Alessandrini, Matheus/J-C Spinosi and Laboratorio '600/F. Pavan, now makes her first solo album. Exploring personal, highly experimental and empirical paths, she revives a fascinating musical practice that has been long lost.
