Gemini Suite

Georges Delerue (12 March 1925 – 20 March 1992) was a French composer who composed over 350 scores for cinema and television. Delerue won numerous important film music awards, including an Academy Award for A Little Romance (1980), three César Awards (1979, 1980, 1981), two ASCAP Awards (1988, 1990), and one Gemini Award for Sword of Gideon (1987). He was also nominated for four additional Academy Awards for Anne of the Thousand Days (1969), The Day of the Dolphin (1973), Julia (1977), and Agnes of God (1985), four additional César Awards, three Golden Globe Awards, and one Genie Award for Black Robe (1991). The French newspaper Le Figaro named him "the Mozart of cinema." Delerue was the first composer to win three consecutive César Awards for Get Out Your Handkerchiefs (1979), Love on the Run (1980), and The Last Metro (1981). Georges Delerue was named Commander of Arts and Letters, one of France's highest honours.

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In opera, the orchestra creates the subconscious, the backstory, and the soundscape of the drama. Brooding and dark, overwhelming and passionate, or edgy and biting, the orchestra's sound guides our imagination, and when released from its supporting role in the pit the result can be a thrilling experience of musical storytelling.

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Danae Kara, an award-winning greek piano virtuoso, plays four works of Manos Hadjidakis. Piano music of Hadjidakis is as unique, as the myriad influences which nurish it, reflecting the wide range of the composer's interests. The suite "For a white little seashell" comprises five preludes followed by traditional greek dances, while the "Six popular pictures" are arrangements of rebetika songs. The intimate and playful character of his "Ionian suite" complements the solemn dignity of "Rhythmology", whose rhythms derive from traditional melodic patterns. Enjoy great piano music, played by a classical pianist, trained at the NY Juilliard School.

Let's meet at the Horizon features four contemporary works. All four prominently feature the double bass, for which there is a far too limited repertoire. This album is an important contribution to the recorded bass literature. Violinist Karen Lord-Powell enjoys a varied career as soloist, chamber and orchestral musician, and teacher. She teaches violin, chamber music, and orchestral repertoire at the Frost School of Music, and is a member of the leadership team for the Experiential Music Curriculum, Frost’s innovative approach to musicianship training.

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