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Flora Papadopoulos - Unwritten. From Violin to Harp

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Unwritten. From Violin to Harp

Flora Papadopoulos

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Harpist Flora Papadopoulos has chosen a double harp with three ranks, a copy of the famous Barberini harp of the years 1625-1630, for these transcriptions of works adapted, not, as one might imagine, from clavier or lute, but from violin. Because in fact, in the baroque era, it seems that the harp served as a melodic instrument – solo, that is – as often as it did as a harmonic instrument – in continuo, no doubt. One of Biber's Rosary Sonatas and one by Corelli make up the pillars of "works with basso continuo", so Papadopoulos only needed to redistribute the melodic part on the one hand, the bassline on the other, with the continuo provided however she pleases. Things are a little different on Bach's Sonata, as it was written for solo violin... Our virtuoso has to mix up period versions which include voices – some movements for the Sonata were transcribed for lute or organ at the time – or to "sell" the polyphony which is implied in the writing for violin solo by redistributing it around the harp's various registers. Finally, for those who wonder how a double harp could have three ranks: two diatonic ranks in unison, for volume, and a central rank with the sharps and flats. The two diatonic ranks are thought of as a single rank. © SM/Qobuz

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Unwritten. From Violin to Harp

Flora Papadopoulos

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Mystery Sonata No. 1 in D Minor, "The Annunciation" (Heinrich Ignaz Franz von Biber)

1
I. Praeludium 00:02:28

Heinrich Ignaz Franz Biber , Composer - Flora Papadopoulos, MainArtist

2
II. Variatio - Aria allegro - Variatio - Adagio - Finale 00:03:40

Heinrich Ignaz Franz Biber , Composer - Flora Papadopoulos, MainArtist

Arie madrigali et corenti, Op. 3 (Biagio Marini)

3
Romanesca per violino solo e basso se piace 00:05:16

Biagio Marini, Composer - Flora Papadopoulos, MainArtist

Sonate, symphonie . e retornelli, Op. 8 (Biagio Marini)

4
Sonate, symphonie, canzoni, passe'mezzi, baletti, corenti, gagliarde e retornelli, Op. 8: Sonata Quarta per il violino per sonar con due corde 00:08:55

Biagio Marini, Composer - Flora Papadopoulos, MainArtist

Sonata in F Major, Op. 5 No. 10 (Arcangelo Corelli)

5
I. Preludio. Adagio 00:01:47

Arcangelo Corelli, Composer - Flora Papadopoulos, MainArtist

6
II. Allemanda. Allegro 00:02:49

Arcangelo Corelli, Composer - Flora Papadopoulos, MainArtist

7
III. Sarabanda. Largo 00:02:25

Arcangelo Corelli, Composer - Flora Papadopoulos, MainArtist

8
IV. Gavotta. Allegro 00:04:05

Arcangelo Corelli, Composer - Flora Papadopoulos, MainArtist

9
V. Giga. Allegro 00:02:28

Arcangelo Corelli, Composer - Flora Papadopoulos, MainArtist

Sonata No. 1 in D Minor (Orig. in G Minor), BWV 1001 (Johann Sebastian Bach)

10
I. Adagio 00:04:16

Johann Sebastian Bach, Composer - Flora Papadopoulos, MainArtist

11
II. Fuga 00:05:29

Johann Sebastian Bach, Composer - Flora Papadopoulos, MainArtist

12
III. Siciliana 00:02:55

Johann Sebastian Bach, Composer - Flora Papadopoulos, MainArtist

13
IV. Presto 00:04:46

Johann Sebastian Bach, Composer - Flora Papadopoulos, MainArtist

Outhere Music France Flora Papadopoulos, under exclusive licence to Outhere Music France

Album Description

Harpist Flora Papadopoulos has chosen a double harp with three ranks, a copy of the famous Barberini harp of the years 1625-1630, for these transcriptions of works adapted, not, as one might imagine, from clavier or lute, but from violin. Because in fact, in the baroque era, it seems that the harp served as a melodic instrument – solo, that is – as often as it did as a harmonic instrument – in continuo, no doubt. One of Biber's Rosary Sonatas and one by Corelli make up the pillars of "works with basso continuo", so Papadopoulos only needed to redistribute the melodic part on the one hand, the bassline on the other, with the continuo provided however she pleases. Things are a little different on Bach's Sonata, as it was written for solo violin... Our virtuoso has to mix up period versions which include voices – some movements for the Sonata were transcribed for lute or organ at the time – or to "sell" the polyphony which is implied in the writing for violin solo by redistributing it around the harp's various registers. Finally, for those who wonder how a double harp could have three ranks: two diatonic ranks in unison, for volume, and a central rank with the sharps and flats. The two diatonic ranks are thought of as a single rank. © SM/Qobuz

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