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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 of life and shedding light on new and unexpected nuances and reflections.

Flora Papadopoulos, after significant collaborations with ensembles such as Cappella Mediterranea/L. García Alarcón, 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.