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Product Details
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Track Listings
| 1. Trojan Women/Voices (Constantinople Lyra, Ney, Harp) | |||
| 2. Trojan Women/Lament I (Constantinople Lyra, Ney) | |||
| 3. Trojan Women/Desolate Land I (Laouto, Constantinople Lyra, Harp, ...) | |||
| 4. Trojan Women/Lament II (Kanonaki) | |||
| 5. Trojan Women/Hecuba's Lament (Constantinople Lyra) | |||
| 6. Trojan Women/Parodos (The Land I Call Home) (Harp, Ney, Kanonaki, ...) | |||
| 7. Trojan Women/Parodos (Home of My Forefathers) (Harp, Kanonaki, ...) | |||
| 8. Trojan Women/Parodos (I Wish I'm Given There) (Harp, Kanonaki, ...) | |||
| 9. Trojan Women/Cassandra's Theme (Constantinople Lyra, Ney, Harp) | |||
| 10. Trojan Women/Cassandra's Trance (Bendir, Laouto, Ney Kanonaki, ...) | |||
| 11. Trojan Women/First Stasimon (An Ode of Tears) (Laouto, Harp, ...) | |||
| 12. Trojan Women/First Stasimon (For the Phrygian Land a Vast ...) | |||
| 13. Trojan Women/Andromache's Theme (Laouto, Constantinople Lyra, ...) | |||
| 14. Trojan Women/Andromache's Lament (Kanonaki) | |||
| 15. Trojan Women/Terra Deserta (Santouri, Daouli, Kanonaki, Ney, ...) | |||
| 16. Trojan Women/Astyanax' Theme (Suling, Harp, Lyra) | |||
| 17. Trojan Women/Hecuba's Theme I (Harp, Constantinople Lyra, Ney, ...) | |||
| 18. Trojan Women/Hecuba's Theme II (Harp, Constantinople Lyra, Ney, ...) | |||
| 19. Trojan Women/Second Stasimon (Telamon, You Came to Conquer Our ...) | |||
| 20. Trojan Women/Second Stasimon (The City That Gave Birth to You Was ...) | |||
See all 30 tracks on this disc
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Product Description
From Amazon.com
Euripides wrote The Trojan Women in 415 B.C., but his tragic play about the aftermath of the fall of Troy continues to resonate many centuries after it was first performed. Eleni Karaindrou, best know for her film scores for Ulysses' Gaze and Eternity and a Day, composed this score for a 2001 production of The Trojan Women after being struck by the parallels between the ancient Greek story and the recent situation in the Balkans. Although she chose to use various folk instruments from around the Mediterranean, such as the lyre, an ancestor of the modern violin; the lauto, a Greek form of the lute; and the ney, an end-blown flute, her stark compositions are not folkloric recreations. Instead, she blends the ancient timbres of the instruments with a vocal chorus to create a sound that is not quite modern but not archaic either. Perhaps the best word to use in describing Karaindrou's austere, beautiful music is timeless. --Michael Simmons
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