In 1964, Benjamin Britten met the multi-instrumentalist twins Zoltán and Gábor Jeney while traveling in Budapest. At their behest, Britten composed Gemini Variations: Twelve Variations and Fugue on an Epigram by Kodály, a work which exploited the brothers' abilities on multiple instruments: Zoltán on flute and piano, and Gábor on violin and piano. In foreseeing the difficulties of programming this work, Britten simultaneously arranged a version for four players: flute, violin, and four-hand piano, eliminating the need for switching instruments. Despite this arrangement, as well as a very public and highly anticipated premiere at the Aldeburgh Festival in 1965, Gemini Variations has remained neglected by performers and scholars alike. This document serves to 1) promote a work that can justifiably be considered as part of the chamber music repertoire involving flute; 2) advocate for its musical merit and appropriateness for chamber music concerts made up of more traditional groups of players; 3) compare the two-player and four-player versions Britten wrote; and 4) explore the likely reasons why a piece by one of the most celebrated composers of the twentieth century has remained largely ignored for over fifty years.