Sound and image
Larry L. Looney | Austin, Texas USA | 10/11/2006
(5 out of 5 stars)
"Even before the advent of sound in motion pictures, there has been an inescapable tie between the two forms of expression. When films were still silent, musical accompaniment was provided `live' in the theatre, when possible, by a pianist - and often this musician employed other sound effects to augment the images playing out of the screen, thus embedding them more deeply in the minds of the audience members. Sound recording coupled with cinema took this relationship much further - most of us, no doubt, connect certain pieces of music with the films in which they were utilized...even if it's on a subconscious level.
Two releases from the esteemed German label ECM Records (the other being François Couturier's NOSTALGHIA: SONG FOR TARKOVSKY), out this week, give wonderful examples of the ways in which sound and image complement each other - and urge each other on to new paths, ideas and goals.
Greek composer Eleni Karaindrou is no doubt best known for her work in creating the scores for the films of director Theo Angelopoulos - she has worked with him on his last seven features: VOYAGE TO CYTHERA (1984), THE BEEKEEPER (1986), LANDSCAPE IN THE MIST (1988), THE SUSPENDED STEP OF THE STORK (1991), ULYSSES' GAZE (1995), ETERNITY AND A DAY (1998) and TRILOGY: THE WEEPING MEADOW (2004). Angelopoulos has said of her contributions to his work, `Eleni Karaindrou's music doesn't accompany the images - it penetrates the images, it becomes an inextricable part of the images. I would say it takes part of what is called anima, so, in the end, you can't tell one from the other - that's how closely knit they are... I believe that Eleni is at the moment one of the best existing film musicians in the world.' Anyone who has seen any of these masterfully crafted works of modern cinema cannot fail to be moved by the effect of Eleni's music in conjunction with Angelopoulos' art.
However, her work extends beyond those efforts into writing music for the stage as well - both before her association with Angelopoulos and in the time since. In 2001, she produced one of her most expressive and innovative works to date - the music for a staging of a modern translation of Euripides' TROJAN WOMEN. She often draws on the ancient dramatic and musical traditions of her homeland, sometimes combining historical instruments such as the lyre, santouri, laouto, kanonaki, harp and ney with all or part of a modern orchestra, as well as voices, either by way of a choir or featuring soloists.
Eleni relates in the CD booklet that she began to sense a thread running through her work - the Angelopoulos film music as well as her compositions for the stage: the spirit of the exile, who has by choice or by fate been uprooted from his homeland. Her music laments this exile, but in the same breath gives hope and strength to the spirit - it penetrates the listener to the very soul, sometimes striking a vibrant chord, sometimes delicately setting subconscious strings in sympathetic motion, causing a subtle yet very effective echo to resonate, sending its ripples radiating out from the point of contact. There is a beauty and focus to her music that rivals that of the images seen by the eye.
The music on this 2-disc set was recorded in concert in Athens in late March of 2005. The Camerata Orchestra is conducted by Alexandros Myrat - the Hellenic Radio / Television Choir by Antonis Kontogeorgiou. Also performing is an ensemble of musicians performing on traditional instruments. Maria Farantouri - whose association with Eleni's music goes back to the early 1970s, and whose work with such notables as Mikis Theodorakis is recognized and cherished in Greece, is the featured vocal soloist. Eleni Karaindrou performs on piano - her solo rendition of `Refugee's theme' from THE SUSPENDED STEP OF THE STORK is breathtakingly beautiful.
The composer has woven pieces from the films and theatre productions into a new tapestry - those who have heard these works in their original contexts will recognize them immediately, but will also be struck by the new `whole' of the conceptual framework. Eleni's music is a treasure - she has found a common golden thread and used her instincts to present it in such a way as to make it completely new, even as the familiar strains heard before echo in the well of the listener's soul.
As a final note on this release: ECM's production values are, as usual, of the highest order. Although it was recording in concert before an audience, you'll completely forget about that until near the end of the second disc. The sound is perfect - every note shimmers.
"
Excellent memory of an excellent work
DZ | brussels, BELGIUM | 11/01/2006
(5 out of 5 stars)
"Eleni Karaindrou has, some 18 years now, since her first "grand" concert I attended in Herodeion Theatre (Athens, 1988), been a window to a "world" of a breathtaking image-and-music-combination, existing although, deep inside since always. I have been following her steps with great interest and every single one of her attempts has been for me, an emotional experience of a distinguished quality. I have, of course, been to her concert in Megaron (Athens, 2005) which is now released by ECM -about which I could not add much to what is already well known and appreciated-, and I dare say, listening to the CD, brings back to memory with vivacity, that exceptional evening of March 2005."
Breathtaking work
Christopher Wild | Wauwatosa, WI United States | 04/14/2009
(5 out of 5 stars)
"Listen to this all at once, and listen to it loud. Absolutely breathtaking! Buy it!"
Track Listings (19) - Disc #1