Eleni Karaindrou
was born in the Greek mountain village of Teichio. She studied
piano and musical theory at the Athens Hellenic Conservatory,
history and archaeology at the University of Athens, and ethnomusicology
and orchestration at the Sorbonne and the Scuola Cantorum
in Paris. She has been an ECM artist since 1991, but “Elegy
of the Uprooting” is her first concert recording for ECM.
This was a production marshalling powerful instrumental and
vocal forces – 110 musicians in total – orchestra, choir,
traditional instruments ensemble, soloists, the composer herself
on piano, plus singer Maria Farantouri, all performing to
a capacity hometown audience at the Megaron, Athens.
“Elegy of the
Uprooting” is described as a comprehensive resetting of Karaindrou’s
musical history, integrated into what she has called “a scenic
cantata.” The frame for the performance is supplied by music
from “The Weeping Meadow” (originally written for Theo Angelopoulos’
film of 2003), and “Trojan Women”, music for K.X. Myris’ adaptation
of the classic play by Euripides. These pieces – all receiving
Greek concert premieres – provide a shaping context within
which Eleni’s compositions of the last three decades could
be reintegrated and, at times, transformed. Musical material
is drawn from pieces written for the films “The Weeping Meadow”,
“Eternity and a Day”, “Ulysses’ Gaze”, “The Suspended Step
of the Stork”, “The Beekeeper”, “Landscape in the Mist” and
“Voyage to Cythera” (all by Angelopoulos), “Happy Homecoming,
Comrade” (by Lefteris Xanthopoulos), and “Rosa” (by Christoforos
Christofis ), as well as music from “The Price of Love” by
Tonia Marketaki and from Jules Dassin’s production of Chekhov’s
“The Seagull”.
The overall effect
is eloquently expressive, invariably slow and atmospheric,
but with a variety of timbral colour from full orchestra and
choir, to soloists and chamber settings, and with Karaindrou’s
own pianism playing an essential linking role. Just looking
at the titles you can gain a sense of what you might expect.
Straightforward lyricism with a distinct Mediterranean flavour,
the music is plangent and nostalgic, romantic and at times
almost sentimental. With film music being such a strong source
this is hardly a big surprise, and without having seen any
of the movies listed my mind is filled with sun-soaked landscapes
and narrow, winding streets, heartrendingly moving departures,
subtle intrigues and intense romance. Karaindrou sums this
up in her booklet notes: ‘as long as human beings exist, they
dream of returning.’
Karaindrou’s music
is suffused with her early experiences with the sounds of
nature and folksong around her native village. None of the
texts in the songs are given, so we are left the guess at
the content of the vocal and choral numbers. This is unfortunate
but not essential – as I mentioned before, the titles give
as much information as you really need. This kind of thing
is not normally my bag, but I have to admit it has a certain
timeless quality. The sound is rich and full, with plenty
of reverb and only a few coughs and rumbles from a fairly
distant sounding audience. Maria Farantouri’s voice has a
low, sandy texture which suits the music perfectly, and the
orchestral and traditional instrumental soloists are all excellent.
This issue could easily be handed out in place of this winters
heating grant for pensioners – it’s so warm you can just close
your eyes and be bathing in sunlight and pure blue skies.
Dominy Clements
