A collection of famous Baroque pieces arranged for Harp.
Floraleda Sacchi (Harp)
01. Pietro Domenico Paradisi: Toccata (from Sonata No. 6 in A flat major)
02. Georg Friedrich Handel: Passacaglia from Suite No. 7 HWV 432
03. François Couperin: Sarabanda in E flat major from 4ème Concert Royal
04. Johann Sebastian Bach: Tempo di Borea from Partita No. 1 for Violin BWV 1002
05. Johann Sebastian Bach: Sinfonia from Cantata BWV 156 (Ich steh’ mit einem Fuss im Grabe)
06. Georg Friedrich Handel: Sarabanda from Suite No. 4 HWV 437
07. Johann Pachelbel: Canon in D major P 37
08. Tomaso Albinoni: Adagio from Organ Concerto in G minor
09. Johann Sebastian Bach: Prelude No. 1 in C Major BWV 846 from The Well-Tempered Clavier, Book I
10. Antonio Vivaldi: Largo from Concerto No. 4 in F minor RV 297 “Winter”
11. Johann Sebastian Bach: Adagio on a theme by Alessandro Marcello from Concerto in D minor BWV 974
12. Arcangelo Corelli: Adagio from Op. 6 No. 4
13. Arcangelo Corelli: Adagio from Sonata 5 Op. 5
14. Henry Purcell: Hornpipe in E minor ZT 685
15. Henry Purcell: Hornpipe in B flat major ZT 570
16. Jean-Baptiste Krumpholtz: Romance from Sonata Op. 12 No. 1
17. Sophia Giustina Corri: Rondo from Sonata Op. 2 No. 3
“It has taken me a considerable time to put together this collection of pieces from the Baroque and Classical periods, especially the initial task of selecting from the many lovely melodies and tunes that are so widely known. There was also the challenge of arranging material that in many cases had been composed for a large ensemble and making it work effectively on a solo harp.
I turned my attention mainly to the search for colour, either in pieces originally composed for keyboard that do not present many performance problems on the harp, or else in works intended for a larger number of instruments, such as Pachelbel’s Canon. For this piece, as also for Vivaldi’s Largo and the Sinfonia from Bach’s Cantata BWV156, there is the problem, in the arrangement, of what should be simplified or eliminated when transposing to the solo instrument. In this and other orchestral works included on this CD I do not find any unnecessary notes or parts; rather, I hear many voices seeking to sing independently, even in works written for a solo instrument. It seemed that the only solution was to think of the harp “symphonically”, introducing effects to colour the different melodies that appear and engage in dialogue, and using overrecording where appropriate.
This approach proved extremely satisfying and creative, and I found it was a way of regenerating this music.
Baroque makes me think instinctively of the love of the bizarre and the unusual, artifi ce and theatricality, Bernini’s creamy marble statues and Caravaggio’s contrasting colours. I have followed the same opulent approach in these arrangements, fi lling them with colour and experimentation.”
Un merletto di grazia e di quiete ”antica”.
Gian Mario Benzing, Vivimilano/Corriere della Sera full article>>>
Floraleda Sacchi fa del suono una continua ricerca, una trasmissione di concetti ed emozioni capaci di creare dimensioni sonore tali da trasformare la sua arpa in una splendida macchina ipnotizzante, ne quale pulsa un cuore che infonde calore e e passione.
Andrea Bedetti, Linea
Floraleda ha trovato la formula magica per rendere possibile un connubio tra delicatezza, forza, espressività, amore per il proprio strumento, amore per la musica contemporanea, e valorizzazione dei movimenti del corpo per giungere a coronare con successo la raffinata ricerca di sonorità intime e nuove.
Antonietta Fontana, 18 marzo 2011. L’Opinione full article>>>