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.
The first volume of Tempesta di Mare's series on Chandos, Comédie et Tragédie, offers period-style performances of orchestral music by Jean-Baptiste Lully, Jean-Féry Rebel, and Marin Marais. The orchestral suites drawn from Lully's music for Le bourgeois gentilhomme, Rebel's symphonie nouvelle Les élémens, and Marais' suite from the tragédie en musique Alcyone give a taste of theater music in the court of Louis XIV and Louis XV, and these pieces show how inventive composers were with instrumentation and their combinations of dances with dramatic scene painting. Tempesta di Mare, which is also known as the Philadelphia Baroque Orchestra, gives bright and energetic performances, and the musicians have a fine sense of the swung rhythms, distinctive tone colors, and lively ornamentation in French Baroque music. The recording is clear and well-balanced, though the percussion in Lully's March for the Turkish Ceremony (track 4) is a bit startling, and the dissonant opening of Rebel's Le Chaos (track 13) has its own shock value. Highly recommended.