Film composer Eleni Karaindou was born in the Greek mountain village of Teichio and raised in Athens, going on to study piano and music theory at the Hellenikon Odion. Relocating to Paris in 1969, she studied ethnomusicology for five years before returning to Greece to found the Laboratory for Traditional Instruments at the ORA Cultural Centre. Karaindrou's most successful collaboration was with filmmaker Theo Angelopoulos, with whom she first teamed in 1982, going on to score features including 1991's The Suspended Step of the Stork, 1995's Ulysses' Gaze, and 1998's Palme d'Or-winning Eternity and a Day.
These recordings which were assembled to keep alive the memory of unique moments and meetings, are those prime compositions that were written in a state of excitement, with the passion and innocence of first look. Eleni Karaindrou / From the liner notes: Music lovers of Eleni Karaindrou have every reason to rejoice. More than 3 hours of music, written for 22 plays, directed by Antonis Antypas (1986-2010) moved to a historical version - documentary on the Mikri Arktos, a 3 CD to accompany an elegant book, enriched with photographs of performances, reviews and information on the recordings. The cooperation of Eleni Karaindrou director and partner Anthony Antipa began in 1986 when he suggested she composed music for "Victory" by Loula Anagnostakis.
Eleni Karaindrou – “Greece’s most eloquent living composer” in the words of Time magazine – was born in Teichio, a mountain village in central Greece. She still retains vivid memories of the sound world of her childhood: "the music of the wind, rain on the slate roof, running water. The nightingale's singing. And then the silence of the snow." Sometimes the mountains would echo to the sound of flutes and clarinets played at village festivals. “I still have a strong memory of the Byzantine melodies I heard in church and the continuous voices of the men accompanying the chanter," she has said. Resonances of this sound world, imbued with the history and suffering of her native land, have found their way into the many scores she has composed for film, TV and theatre in the past four decades.