The fascinating voyage into the world of the harp in this CD recounts a small part of the instrument’s history through the Irish (Celtic), South American (Paraguayan), Italian (Viggianese) and modern classical harps. As well as its historical aspect, this project also aimed to give a new, freer and more imaginative interpretation of excerpts from the vast repertoire of folk and classical tradition: Irish baroque with the O’ Carolan Concerto, Spanish-South American baroque with the Paradetas by Ribayas, and classical baroque with the Sarabanda by Couperin and the Toccata by Paradisi; Romanticism with the transcription for classical harp of the Serenada Granada by the Spaniard Albeniz; ancient music from Celtic northern Europe with Baltiorum, Gaelic waltz, the Knappogue medley; and the folk traditions of southern Italy with Tarantella Capuanese and Tarascone and of South American with recent compositions coloured by the past such as Pampalirima, Merengue rojo, Villavicencio and Milonga par amar. Harp to harps… I don’t know why this thought came to me one day, when I was a qualified young harpist with all my certificates and the prospect of a promising career in classical music, but curiosity, not entirely subdued by the rigour of academic studies, pushed me forward. I wanted to explore the harp in all its forms and evolutions, from the hunter’s bow to the folk harp end modern. As my lonely research progressed, free from the cultural restrictions of academia, I felt the need to seek out a world of rhythms and sounds where nothing is predetermined and final, leaving the artist free to interpret, in an entirely personal manner, without conscience primordial images telling stories of human identity.