In 2002 Florilegium became involved with Bolivian Baroque and since 2003 Ashley has been training vocalists and instrumentalists there. Initially solo singers, he formed Arakaen – dar Bolivia Choir in 2005. In 2008 Ashley was the first European to receive the prestigious Bolivian Hans Roth Prize, given to him in recognition of the enormous assistance he has given to the Bolivian indigenous people, their presence on the international stage and the promotion and preservation of this music.
“For the last 28 years of collaboration with Channel Classics my main inspiration for recording has always been repertoire. Either to convey our individual interpretation of known pieces I am passionate about, or to present otherwise unknown repertoire for the very first time. This recording, however, came about through a chance encounter with a remarkable private collection of flutes held in Frankfurt. This collection includes several hundred historical flutes spanning the history of the instrument from one of the earliest surviving 3-piece French flutes made by Chattillion in c.1680. Many of these are baroque and other one-keyed flutes and most of them have not been used in recordings before. The collection includes some of the finest examples of playable baroque flutes anywhere in the world, and while many are fragile, extremely delicate and temperamental, there is almost nothing in life as viscerally exciting, as appealing to the intellect and to the senses, as playing on outstanding historical instruments. Thanks to the remarkable generosity of the collector I am able to present this unique recording with nine original flutes together with my colleagues from Florilegium.”
– Ashley Solomon
Total time: 01:08:33
Van der Hul 3T
Horus, Merging Technologies
Pyramix Workstation / Merging Technologies
Bruel & Kjaer 4006, Schoeps
|Original Recording Format|
Remonstrantse Kerk, Renswoude
|Recording Type & Bit Rate||
|Release Date||February 20, 2020|
MusicWeb International ‘RECOMMENDED’
Ashley Solomon was clearly inspired by these precious instruments, and delivers outstanding interpretations. He plays with much sensitivity, and considering that most of this music was intended for domestic performance, it makes much sense that in many pieces he is supported by viola da gamba and theorbo. A more extroverted piece as Locatelli’s sonata is given a bolder interpretation, which is spot-on.
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