The soundtrack to a new film by Theo Angelopoulos, this is Karaindrou’s sixth collaboration with the Greek director. Perhaps the best-known was Eternity And a Day, winner of the 1998 Palm D’Or at Cannes, where her exquisite, haunting music transformed bleakly poetic images. While less melodically rich than that film, The Weeping Meadow soundtrack is nevertheless achingly beautiful and exudes a naked emotional rawness rare in music so elegantly orchestrated and presented in such crystalline recordings. The film is a mythic story following two characters uprooted from Odessa in 1919 and Karaindrou builds her music from the landscape of northern Greece. It is slow, delicate, evocative and immensely powerful: over beds of sustained drones, the harp is a ticking clock, the accordion, appearing just after the beat, a weary sigh of hope or resignation. Like Eternity And a Day and like the 2001 Epidaurus production of The Trojan Women for which Karaindrou produced the music, The Weeping Meadow is concerned with place and displacement, overriding concerns of the second half of the twentieth century and inevitable emblems of the twenty-first.