Finalmente, llega a tierras cabezonas el gran compositor Edward Artemiev, no solo un gran compositor de bandas sonoras, que ha trabajado para los principales cineastas rusos de los últimos 50 años y su nombre está vinculado a un puñado de las películas más importantes de la historia del cine mundial, sino que además es un pionero de la música electrónica y electroacústica de su país. Este trabajo sintetiza su colaboración con el gran director Andrei Tarkovsky.
Artista: Edward Artemiev
Álbum: Solaris, The Mirror, Stalker, Music From The Motion Pictures
Año: 2002
Género: Banda de Sonido/Soundtrack
Duración: 76:21
Sello: Electroshock
Año: 2002
Género: Banda de Sonido/Soundtrack
Duración: 76:21
Sello: Electroshock
Nacionalidad: Rusia
Lista de Temas:
01 Stalker - Theme
02 Stalker - Train
03 Solaris - Ill
04 Solaris - Station
05 Solaris - Listen to Bach (The Earth)
06 Mirror - Exodus
07 Stalker - They Go Long
08 Solaris - Dream
09 Stalker - Meditation
10 Solaris - Ocean
11 Solaris - Picture P. Brueghel "Winter"
12 Solaris - Return
13 Dedication To Andrei Tarkovsky
13 Dedication To Andrei Tarkovsky
2.- Stalker - Train
9.- Stalker - Meditation
Eduard Nikolaevich Artemyev
Nacido el 30 de Noviembre de 1937 en Novosibirsk (suroeste de Siberia), egresado del Conseratorio de Moscú en 1960, condecorado como Artista del Pueblo de Rusia, máxima distinción artística de su país, su música fue utilizada para la inauguración y cierre de los recientes Juegos Olímpicos de Invierno de Socchi. En abril acaba de estrenar la ópera rock Crimen y Castigo, inspirada en la novela de Fiodor Dostoievski. Según Wikipedia, en su versión rusa, el maestro Artemiev, lleva compuestas 172 bandas sonoras desde 1963.
Mientras que en occidente el Moog apareció pasada la mitad de los años 60’s, el ANS[i], inventado por el ingeniero soviético Evgeny Murzin (1914-1970), ya era usado por el joven Artemiev desde 1960, Murzin llevaba trabajando en él desde 1938.
Baste nombrar entre las películas que lo registrarán en la historia del cine mundial: Solaris/1972 de Andrei Tarkovsky, El Espejo/1975 de Tarkovsky, La Esclava del Amor/1976 de Nikita Mihalkov, Pieza Inconclusa Para Piano Mecánico/1977 de Mihalkov, Stalker/1979 de Tarkovsky, Siberiada/1979 de Andrei Mikhalkov-Konchalovsky (hermano mayor de Nikita), y Algunos Días en la Vida de Oblomov/1980 de Mihalkov.
Así como Bernard Hermann[ii] fue el principal compositor de las películas de Alfred Hichcock, también existen otras duplas poderosas en el mundo del cine: Federico Fellini y Nino Rota, Sergio Leone y Ennio Moriccone[iii], o el documentalista Geoffrey Reggio y Philip Glass[iv]; y, en nuestro caso el gran director soviético Andrei Tarkovsky y Edward Artemiev (dejaremos la dupla Nikita Mihalkov y Edward Artemiev para otra oportunidad).
Crítica del álbum
The Russian soundtrack composer Edward Artemiev's work is seldom easy to find. In fact, it can be downright impossible. That's why the release of this soundtrack compilation on Edward's son Artemiy's own "Electroshock Records" label is such a pleasant surprise. Included on this CD are selections from the films "The Mirror" (one cut), the classic "Stalker" (four songs and yes, this film is the same one that inspired the Rich/Lustmord recording) and the SF masterpiece, "Solaris" (seven selections). In addition, there is a final song which is dedicated to the Soviet filmmaker Andrei Tarkovskiy. The music itself is moody, dark, beautiful, foreboding, and even menacing at times. It's primarily electronic in nature, sometimes overtly so, but the emotional mood of the recording swings widely, such as on the first two cuts, both from "Stalker" - the opening neo-classical harpsichordish "Theme" to the ambient "Train" featuring minor key synth washes underneath a heavily dostorted recording of train wheels on the tracks. Other songs may remind you of Berlin-school EM because of the use of sequenced beats, but the CD is more atmospheric than most German electronic music, which it should be since it is soundtrack music and ought to have a strong visual component. "Station" from "Solaris" is appropriately spacy with weird synth effects that then morphs into a rapid-fire sequenced TD-like number. The one number from "The Mirror", "Exodus", is a spooky piece of ambient noir, with dark-as-night synths that build to a crescendo which can only be described as either terror or horror-inducing. This song is followed, rather dramatically, with another quasi-Berlin piece, "They Go Long" from "Stalker". Arpeggio synths race to and from as an underlying mournful synth lends an air of despair to the song. "Dream" from "Solaris" has swirling, droning ambient synths that are spooky to say the least. When the synth chorus (or is it real?) comes into the song, I dare you not to think of the Ligeti pieces from 2001! "Meditation" from "Stalker" uses a wooden flute to create an atmosphere of mystery and spirituality, while the background synths keep the song anchored in the realm of darkness. Over the course of the eleven-minute opus "Ocean" from "Solaris" you might hear hints of everything from the darkest Robert Rich to the more experimental ambient artists on the "Hypnos" label to some of the artists on Groove Unltd. e.g. Ron Boots or Hemisphere. Ultimately, though, Edward's music is not the least bit derivative. I only offer the comparisons above to paint you a sonic picture. Edward Artemiev is a true original and a powerful creative force and this recording illsutrates this easily. Frankly, I can't believe lovers of dark ambient or moody atmospheric electronic music passing on this. For one thing, the music is excellent, if not downright indispensable. For another, just the fact that this music has been released at all should make you grab your checkbooks. Hats off to Artemiy for getting this CD made. It's a veritable treasure-house of highly visual electronic music. It represents a look into the dark corners not just of the physical world, but the world inside our minds as well. If any CD deserved to be called a masterpiece, this is surely one.
Bill Bimkelman ("Wind & Wire")
Argumento de Solaris/1972
Basada en una nove la ciencia-ficción del escritor polaco Stanislav Lem. Se decía que la Unión Sovietica se interesó el proyecto, en plena Guerra Fría como respuesta a 2001 Odisea Espacial, de Stanley Kubrick. La acción transcurre en una estación espacial que orbita entorno al planeta Solaris. La película comienza en la tierra. El astronauta Burton viene en busca del psicólogo espacial Kris Kelvin, y le exhibe un video de sus respuestas a la comisión que investiga su viaje al planeta, donde ha sufrido tremendas experiencias. Finalmente, Kelvin acepta viajar a Solaris con la misión de destruir la estación espacial que circunvala el planeta o resolver los problemas que en ella se general. El océano que recubre el planeta es en realidad un enorme cerebro, una inteligencia de dimensión planetaria. Cuando Kelvin llega a la estación espacial, la situación es crítica. Uno de los científicos se ha suicidado, otro sufre visiones alucinatorias, otro más se encierra en una lógica fría y distante. Pronto Kelvin experimenta los poderes del océano-mente, que en su empeño en comunicarse con los seres humanos materializa los recuerdos, los deseos, las frustraciones que éstos se ocultan incluso a sí mismos.
http://www.cinemateca.org.uy/revistas.html
Argumento de El Espejo/1974
Un hombre, Alekséi, al que no se le destapa su rostro de adulto en todo el film, únicamente se puede descifrar su torso encima de una camilla al final del mismo, habla con su esposa sobre su situación actual y los motivos por los que se han distanciado. En este sentido la película es una evocación continua de recuerdos y sentimientos que viajan en diferentes tiempos sin orden aparente: la relación con su madre, su infancia,...que se mezclan con material fílmico de noticiario sobre la Guerra civil española, la Segunda guerra mundial y el enfrentamiento entre la URSS y China por la isla Damanski. En la película suenan poemas escritos y recitados por Arseni Tarkovski, padre del director. Retrata un pasado que es el suyo, pero también el de un país y el del acontecer mundial.
La estructura especular del argumento de la película se ve potenciada por la interpretación por una misma actriz, Margarita Térejova, tanto de la madre de Alekséi (María) como la de Ignat (Natalia), siendo ambos niños también interpretados por un mismo actor, Ignat Daníltsev.
Argumento de Stalker/1979
Stalker, 1a. parte
Stalker, 2a. parte
Basada en el relato de los hermanos rusos Arkadii y Boris Strugatski Picnic al borde del camino (el libro se consigue). La base argumental de la película de Tarkovsky gira alrededor de "la zona", en la que los rumores hablan de la caída de un meteorito o de que fue habitada por una civilización extraterrestre que posteriormente se fue. Esta zona se halla ahora cerrada y fuertemente protegida por los militares dado que muchos hombres que entraron en ella jamás volvieron. Dos hombres, llamados el escritor (Anatoly Solonitsin) y el profesor (Nicolay Grinko), se embarcan en un viaje acompañados por un "stalker" (un acechador, una excelente interpretación de Aleksander Kaidanovski), un personaje que en la película de Tarkovsky es un guía de "la zona". En "la zona" hay misteriosos objeto, pero ellos dos parten a la búsqueda de una habitación que se halla en su centro y que tiene la facultad de realizar los deseos más ocultos del ser humano. Sin embargo, es necesario indicar que aquí el stalker no es un mero y simple guía.
Homenaje de la Orquesta Presidencial de Bielorrusia
Edward Artemiev - Generaciones de Música/2014
Ciclo de Conciertos en las ciudades de Bielorrusia
(la música comienza en el min. 4,
declaraciones de Artemiev en el min. 46,
declaraciones de Nikita Mikhalkov en el min 70)
declaraciones de Artemiev en el min. 46,
declaraciones de Nikita Mikhalkov en el min 70)
Las composiciones de las películas icónicas de Andrei Tarkovsky, Andrei Konchalovsky, Nikita Mikhalkov serán interpretadas por la Orquesta Presidencial de Belarús durante los conciertos "Eduard Artemyev. Generaciones de Música ".
El programa está diseñado para una gran orquesta sinfónica. Por lo tanto, además de la orquesta, hemos invitado a unos 20 músicos de las mejores orquestas de Belarús, así como un coro de Beltele radio company a participar en la preparación de este concierto - dice el director titular de la Orquesta Presidencial de Belarús Viktor Babarikin. La música Artemyev, que estamos preparando, incluye la obertura de la ópera. La música está ligada a las películas. Y, por supuesto, cuando durante la ejecución, se proyectarán fragmentos para reforzar la impresión del público. La directora Gorkunova trabajará el aspecto visual del concierto, por lo que no se percibe que vaya a ser una actuación clásica de la Filarmónica.
El concierto contará con la presencia del trompetista conocido, Artista de Honor de Rusia, Semyon Milstein.
Los gastos financieros para la preparación de proyecto musical a gran escala asumieron JSC "Gazprom Transgaz Belarús". Conciertos "Eduard Artemyev. generaciones de música "escucharán el 21 de junio en Brest, Gomel 23 de junio y 26 de junio en Minsk (Palacio de la República).
Comenta una persona en el video de YouTube
"Los jóvenes han olvidado cómo escuchar la música verdadera ,,, y Artemyev, compositor genial, es la diversidad y la profundidad de la música (entrelazándola con) la música electrónica, siendo absolutamente original, se adelantó a su tiempo ,,,,,, Bravo por la obra y el alma que proviene la luz de su singularidad !!"
¿Qué es el arte para Tarkovsky?
El espectador ideal para mí mira un film como un viajero mira el paisaje por el que atraviesa en el tren. Los poetas zen tienen una manera eficaz de abordar esto: trabajan para eliminar la interpretación y por ese camino se dibuja un paralelo entre el mundo real y el que crea el artista en su obra. ¿Cuál es el fin entonces de toda esta actividad? Me parece que el objeto del arte es preparar el espíritu humano a percibir el bien. Se abre bajo la influencia de una obra y es por eso que decimos que el arte nos ayuda a comunicar; pero se trata de comunicación en el sentido más alto de la palabra….
… Quizás ustedes se hayan dado cuenta que cuanto menos tienen que ver las lágrimas durante un film tanto más profundas serán sus causas. No estoy hablando de sentimentalismo, sino de la manera en que el arte puede alcanzar las profundidades del alma humana y dejar al hombre sin defensa ante el bien.
Andrei Tarkovsky
(de un debate en el British Film Institute, Londres, febrero 1981, conducido por Ian Christie.
http://www.cinemateca.org.uy/revistas.html
Sobre la banda sonora de Stalker (toda una lección)
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Stalker, imagen correspondiente al asombroso tema N° 2 Train (el carrito o zorra, es nombrada en el texto como motorized draisine). |
The Stalker film score was composed by Eduard Artemyev, who had also composed the scores for Tarkovsky's previous films Solaris and The Mirror. For Stalker Artemyev composed and recorded two different versions of the score. The first score was done with an orchestra alone but was rejected by Tarkovsky. The second score that was used in the final film was created on a synthesizer along with traditional instruments that were manipulated using sound effects. In the final film score the boundaries between music and sound were blurred, as natural sounds and music interact to the point where they are indistinguishable. In fact, many of the natural sounds were not production sounds but were created by Artemyev on his synthesizer. For Tarkovsky music was more than just a parallel illustration of the visual image. He believed that music distorts and changes the emotional tone of a visual image while not changing the meaning. He also believed that in a film with complete theoretical consistency music will have no place and that instead music is replaced by sounds. According to Tarkovsky, he aimed at this consistency and moved into this direction in Stalker and Nostalghia.
In addition to the original monophonic soundtrack, the Russian Cinema Council (Ruscico) created an alternative 5.1 surround sound track for the 2001 DVD release. In addition to remixing the mono soundtrack, music and sound effects were removed and added in several scenes. Music was added to the scene where the three are traveling to the zone on a motorized draisine. In the opening and the final scene Beethoven's Ninth Symphony was removed and in the opening scene in Stalker's house ambient sounds were added, changing the original soundtrack, in which this scene was completely silent except for the sound of a train.
Film score
Initially, Tarkovsky had no clear understanding of the musical atmosphere of the final film and only an approximate idea where in the film the music was to be. Even after he had shot all the material he continued his search for the ideal film score, wanting a combination of Oriental and Western music. In a conversation with Artemyev he explained that he needed music that reflects the idea that although the East and the West can coexist, they are not able to understand each other. One of Tarkovsky's ideas was to perform Western music on Oriental instruments, or vice versa, performing Oriental music on European instruments. Artemyev proposed to try this idea with the motet Pulcherrima Rosa by an anonymous 14th century Italian composer dedicated to the Virgin Mary. In its original form Tarkovsky did not perceive the motet as suitable for the film and asked Artemyev to give it an Oriental sound. Later, Tarkovsky proposed to invite musicians from Armenia and Azerbaijan and to let them improvise on the melody of the motet. A musician was invited from Azerbaijan who played the main melody on a tar based on mugham, accompanied by orchestral background music written by Artemyev. Tarkovsky, who, unusually for him, attended the full recording session, rejected the final result as not what he was looking for.
Rethinking their approach they finally found the solution in a theme that would create a state of inner calmness and inner satisfaction, or as Tarkovsky said "space frozen in a dynamic equilibrium." Artemyev knew about a musical piece from Indian classical music where a prolonged and unchanged background tone is performed on a tambura. As this gave Artemyev the impression of frozen space, he used this inspiration and created a background tone on his synthesizer similar to the background tone performed on the tambura. The tar then improvised on the background sound, together with a flute as a European, Western instrument. To mask the obvious combination of European and Oriental instruments he passed the foreground music through the effect channels of his SYNTHI 100 synthesizer. These effects included modulating the sound of the flute and lowering the speed of the tar, so that what Artemyev called "the life of one string" could be heard. Tarkovsky was amazed by the result, especially liking the sound of the tar, and used the theme without any alterations in the film.
Sound design
The title sequence is accompanied by Artemyev's main theme. The opening sequence of the film showing Stalker's room is mostly silent. Periodically one hears what could be a train. The sound becomes louder and clearer over time until the sound and the vibrations of objects in the room give a sense of a train's passing by without the train's being visible. This aural impression is quickly subverted by the muffled sound of Beethoven's Ninth Symphony. The source of this music is unclear, thus setting the tone for the blurring of reality in the film. For this part of the film Tarkovsky was also considering music by Richard Wagner or the Marseillaise.
In an interview with Tonino Guerra in 1979, Tarkovsky said that he wanted "music that is more or less popular, that expresses the movement of the masses, the theme of humanity's social destiny." He added, "But this music must be barely heard beneath the noise, in a way that the spectator is not aware of it." In one scene, the sound of a train becomes more and more distant as the sounds of a house, such as the creaking floor, water running through pipes, and the humming of a heater become more prominent in a way that psychologically shifts the audience. While the Stalker leaves his house and wanders around an industrial landscape, the audience hears industrial sounds such as train whistles, ship foghorns, and train wheels. When the Stalker, the Writer, and the Professor set off from the bar in an off-road vehicle, the engine noise merges into an electronic tone. The natural sound of the engine falls off as the vehicle reaches the horizon. Initially almost inaudible, the electronic tone emerges and replaces the engine sound as if time has frozen.
The journey to the Zone on a motorized draisine features a disconnection between the visual image and the sound. The presence of the draisine is registered only through the clanking sound of the wheels on the tracks. Neither the draisine nor the scenery passing by is shown, since the camera is focused on the faces of the characters. This disconnection draws the audience into the inner world of the characters and transforms the physical journey into an inner journey. This effect on the audience is reinforced by Artemyev's synthesizer effects, which make the clanking wheels sound less and less natural as the journey progresses. When the three arrive in the Zone initially, it appears to be silent. Only after some time, and only slightly audibly can one hear the sound of a distant river, the sound of the blowing wind, or the occasional cry of an animal. These sounds grow richer and more audible while the Stalker makes his first venture into the Zone, initially leaving the professor and the writer behind, and as if the sound draws him towards the zone. The sparseness of sounds in the zone draws attention to specific sounds, which, as in other scenes, are largely disconnected from the visual image. Animals can be heard in the distance but are never shown. A breeze can be heard, but no visual reference is shown. This effect is reinforced by occasional synthesizer effects which meld with the natural sounds and blur the boundaries between artificial and alien sounds and the sounds of nature.
After the three travelers appear from the tunnel, the sound of dripping water can be heard. While the camera slowly pans to the right, a waterfall appears. While the visual transition of the panning shot is slow, the aural transition is sudden. As soon as the waterfall appears, the sound of the dripping water falls off while the thundering sound of the waterfall emerges, almost as if time has jumped. In the next scene Tarkovsky again uses the technique of disconnecting sound and visual image. While the camera pans over the burning ashes of a fire and over some water, the audience hears the conversation of the Stalker and the Writer who are back in the tunnel looking for the professor. Finding the Professor outside, the three are surprised to realize that they have ended up at an earlier point in time. This and the previous disconnection of sound and the visual image illustrate the Zone’s power to alter time and space. This technique is even more evident in the next scene where the three travelers are resting. The sounds of a river, the wind, dripping water, and fire can be heard in a discontinuous way that is now partially disconnected from the visual image. When the Professor, for example, extinguishes the fire by throwing his coffee on it, all sounds but that of the dripping water fall off. Similarly, we can hear and see the Stalker and the river. Then the camera cuts back to the Professor while the audience can still hear the river for a few more seconds. This impressionist use of sound prepares the audience for the dream sequences accompanied by a variation of the Stalker theme that has been already heard during the title sequence.
During the journey in the Zone, the sound of water becomes more and more prominent, which, combined with the visual image, presents the zone as a drenched world. In an interview Tarkovsky dismissed the idea that water has a symbolic meaning in his films, saying that there was so much rain in his films because it is always raining in Russia. In another interview, on the film Nostalghia, however, he said "Water is a mysterious element, a single molecule of which is very photogenic. It can convey movement and a sense of change and flux." Emerging from the tunnel called the meat grinder by the Stalker they arrive at the entrance of their destination, the room. Here, as in the rest of the film, sound is constantly changing and not necessarily connected to the visual image. The journey in the Zone ends with the three sitting in the room, silent, with no audible sound. When the sound resumes, it is again the sound of water but with a different timbre, softer and gentler, as if to give a sense of catharsis and hope. The transition back to the world outside the zone is supported by sound. While the camera still shows a pool of water inside the Zone, the audience begins to hear the sound of a train and Ravel's Boléro, reminiscent of the opening scene. The soundscape of the world outside the zone is the same as before, characterized by train wheels, foghorns of a ship and train whistles. The film ends as it began, with the sound of a train passing by, accompanied by the muffled sound of Beethoven's Ninth symphony, this time the Ode to Joy from the final moments of the symphony. As in the rest of the film the disconnect between the visual image and the sound leaves the audience in the unclear whether the sound is real or an illusion.
Wikipedia, Stalker (1979 film)
La Obra de Edward Artemiev (Эдуард Артемьев)
Premios
· Small Gold Medal Exhibition of Economic Achievements of the musical composition "Mosaic" (1968).
· Winner of three State prizes in literature and art (1993, 1995, 1999) for the feature films " Urga - Territory of Love ", " Burnt by the Sun " and " The Barber of Siberia " .
· Winner of three awards " Nika " for the best music for the film (1995, 2004, 2008) ( " Limit ", " Driver for Vera ", " 12 ") .
· Winner of five awards " Golden Eagle " for the best music for the film (2007, 2008, 2012, 2014, 2015) ( " Doctor Zhivago ," " 12 ," " House ," "Legend of number 17 ", " Sunstroke ").
· Winner of "The Art Association of Man and information" in the category "Art" (2000).
· Winner of the "Saint George" the XXIII Moscow International Film Festival "for outstanding contribution to world cinema" (2001).
· Jury Prize and the Russian Authors' Society of Andrei Petrov (2011) for the music for the film "The Quiet outpost " ..
· Order "For Services to the Fatherland» IV of degree ( on August 16 2013 the year ) - for his great contribution to the development of musical art and many years of creative work
· The award "Person of the Year" (2015)
Reconocimientos
· In the composition Resurrection group AUC treated Artemyev theme song for the film " Sibiriada " debuted at the 3rd position in the UK singles chart in 2002 . The same theme of the song "Walking" ("Death of a Hero") was used by 7 February 2014 at the opening ceremony of the Winter Olympic Games in Sochi .
· Another melody Artemiev - the main theme of the film " At Home Among Strangers " - arranged by Igor Matvienko was announced at the closing ceremony of the Olympic Games in Sochi . At the closing ceremony it was also used Artemyev music from the film "Stalker"
· Poet Nikolai Zinoviev wrote a poem on one of the musical themes Artemiev the movie " Kin " [10] and the result was the song " Flight on a hang-glider ", which became widely known by Valery Leontiev . Zinoviev also is the author of at least three songs to the music of E. Artemyev, one of which ( "Nostalgia") executed by Igor talc .
· He is an expert of international expert council virtual production center « the Record v 2.0 We do ».
· Libro: Edward Artemiev’s Musical Universe, escrito por Tatiana Yegorova.
Discografía
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| Algunos discos |
· LP. "AHC - synthesizer" (E. Artemev - S. Krejci, music for the film "Space"). "Melody»: 1972. D 25631-2 (USSR).
· LP. «Siberiade». Bande originale du film d'Andrei Konchalovsky. «Le Chant Du Monde»: 1979, LDX 74719 (France).
· LP. "Metamorphoses". Electronic interpretations of classical and contemporary works. Arranged for Synthesizer Synthi-100 E. Artemyev, Vladimir Martynov, Yuri Bogdanov. "Melody": 1980, S10-13889-90 (USSR).
· LP. "Mood-Pictures". Electronic music for "movies Sibiriada " "When leaving whales", " Moon Rainbow ", " Night of birth ", " Inspector Gull ", " Hot Summer in Kabul ," " Fox Hunting ", " Stalker ", " Legends of the Peruvian Indians ". "Melody": 1984, S10-21077-002 (USSR).
· LP. "Ode to the good messenger." Olympic Cantata. Poems by Pierre de Coubertin . Sings Gennady Trofimov . "Melody": 1984, S60-21277 000 (USSR).
· LP. "The heat of the Earth." Vocal and instrumental suite on the verses by Yuri Rytkheu . Sings Jeanne Christmas . "Melody": 1985, S60-23029 000 (USSR).
· CD. «Solaris», «The Mirror», «Stalker»: films by Andrei Tarkovsky. Torso Kino: 1989, CD 5001 (Holland).
· LP. "Musical Offering". "Melody": 1990, C60 - 30721 000 (USSR).
· CD. «Urga»: original motion picture soundtrack a film by Nikita Mikhalkov. «Philips»: 1991 510 608-2 (France).
· CD. «Looking East - Estonia and Russia» (Eduard Artemiev «The Road to Nowhere»). Erdenklang: 1992 29612 (Germany).
· CD. «The inner circle»: music from the original soundtrack music composed by Edvard Artemiev. Milan: 1992, BMG 7313835613-2 (USA).
· CD. «Burnt by the sun»: Bande originale du film «Soleil tromteur». «Auvidis traveling»: 1995, CD 5001 (France).
· CD. "Territory of Love" Music from the movies Nikita Mikhalkov. "TriTe & Edart Music», «Lad": 1995, LDR 417038/9 (Russia).
· CD. "The heat of the Earth." «Musea»: 1999, FGBG 4309. AR (France).
· CD. «The odyssey: music from motion picture». «Electroshock records», 1998. ELCD 008 (Russian).
· CD. "Solaris", "Mirror", "Stalker": music for films Tarkovsky. «Electroshock Records»: 1999, ELCD 012 (Russian).
· CD. «Barber of Sibiria»: original motion picture soundtrack a film by Nikita Mikhalkov. «Sony Classical»: 1999, SK 61802 (US).
· CD. «ANS». Electroshock Presents:..... "Electroacoustic Music Volume IV Archive Tapes Synthesiser ANS 1964-1971« Electroshock Records »1999, ELCD 011 (Russian).
· CD. «A book of impressions by Edvard Artemiev». «Electroshock Records»: 2000, ELCD 018 (Russian).
· CD. «Three odes»: «Ode to the Herald of good», «Phantom from Mongolia», «There & Here». «Electroshock Records»: 2002, ELCD 030 (Russian).
· CD. Music for the film "A Driver for Vera", "Mama". Production Company Igor Tolstunov. 2004 (Russia).
· CD. «So Weit Die Füsse Tragen» ( «As far as my feet will carry me»). «Electroshock Records»: 2005, ELCD 045.
· CD. «Shadows of a Theater». «Electroshock Records»: 2005, ELCD 046.
· CD. "Territory of Love. Music from the movies Nikita Mikhalkov's "collector's edition dedicated to the anniversary of N. Mikhalkov, remastered, supplemented. «Electroshock Records»: 2005, ELCD 047/048 (2 CD).
· CD. "Eduard Artemyev. Music movie. " 2007, VSMCD-001 VSMCD-002 (2 CD).
· CD. «Invitation to Reminiscences». 2010.
· CD. «Mood - Pictures». «Electroshock Records», 2010. ELCD 061 (Russian).
Opera
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2007 Crime and Punishment (ópera rock) Estrenada en Moscú, en abril/2016(Crimen y Castigo) |
· " Crime and Punishment ", a rock opera in two acts based on the eponymous novel by F. Dostoevsky ; libretto by A. Konchalovsky and Yu Ryashentseva (with the participation of M. Rozovsky), poems Yu Ryashentseva; " The theater of the musical " 2016 (estrenada en abril)
Oratorios, cantatas, choral and vocal-instrumental compositions
· "I killed underneath Rzhev" Oratorio on verses of A. Twardowski for baritone, mixed choir and orchestra; 1959
· "Hymn to Nature," for voice and rock ensemble on poems by P. Grushko; 1976
· "Ode to the good messenger," a cantata for the Olympic Games in Moscow for tenor, two mixed choirs, children's choir, symphony orchestra, rock band and Synthi-100 synthesizer on the words of Pierre de Coubertin in Russian translation N. Konchalovskaya; 1980 The second edition of the cantata prepared for the record company "Melody"; 1984
· "The heat of the Earth", vocal-instrumental cycle for mezzo-soprano, rock band and Synthi-100 synthesizer; 1985
· Baltas Balandis ( Rus. White Dove ), the Vision ( eng. Vision ), Vasara ( Rus. Summer ) - three poems for soprano, violin and synths on the poems of poets P. Celan and C. Gedy ; 1982-1989 gg.
· Tempus cogitation Impertire ( . Russian devote time to meditation ), for soprano and synthesizers; G. 1990
· "Phantom of Mongolia" for the national women's voices and synthesizers; G. 1991
· "Here and there" Terzetto for soprano, tenor, rock singer and orchestra to the text Yu Ryashentseva; G. 1996
Symphony, a suite, instrumental music
· "Poem" for two violins, viola and cello; 1956
· "Dances", suite for symphony orchestra; 1960
· "Cups", suite for symphony orchestra and choir; 1962
· "For the dead souls", the music for the ballet-pantomime for symphony orchestra; 1965
· "Ocean", a symphonic poem; 1972
· "Seven gates to the world of Satori" kvazisimfoniya in seven parts for the ensemble of electronic instruments, guitars, drums, violin and sound; 1974
· "Pilgrims", symphony for soprano, tenor, and a rock band on the verses S. Kirsanov; 1982 (not finished).
· "Splints", suite for female choir and orchestra; 2010
· "Altai tale. Flying over time ", symphonic suite; 2012
Works for solo instruments and orchestra
· Concerto for Viola and Orchestra (I part); 1960
· Concerto for Piano and Orchestra; G. 1994
Piano music
· "Pastorale Sonatina"; 1956
· "Four Preludes"; 1958
Electronic compositions
· "Star Nocturne" for the ANS synthesizer; 1961
· "Concert Waltz" for the ANS synthesizer; 1964
· "Etude" for the ANS synthesizer; 1964
· "Mosaic" for the ANS synthesizer; 1967
· "Twelve views on the world of sound: Variations on a tone"; 1969
· "Untempered music" for the ANS synthesizer; 1969
· "Mood-Pictures", a suite for Synthi-100 synthesizer; 1976-1983 gg.
· "Noosphere", for choir and synthesizers; 1975 (second edition - 2000).
· "Mirage", for a rock band, and synthesizers; 1978
· "Movement" for Synthi-100 synthesizer (with Yu Bogdanov); 1980
· "Ocean Solaris"; 1987 (tema 10 del disco, 11:41)
· «Credo (from Requiem)"; 1987
· "In memory of Andrei Tarkovsky"; 1987
· "Three views on the revolution. To the 200th anniversary of the French Revolution "; 1989
· "Ritual"; G. 1991
Music for performances
1961
· "Caution - leaf"; Theatre. Moscow City Council, dir. A. Remez.
· "Hamlet of the apartment number 13"; Lenin Komsomol Theater, dir. A. Remez.
1965
- "pound of flesh"; Theatre. Yermolova, dir. Andreev.
1966
· "The sea at the end of the path"; Theatre on Malaya Bronnaya, dir.A. Saltykov.
· "The visit of the ladies"; Theatre on Malaya Bronnaya, dir.Goncharov.
1966
- "Ball of thieves"; Theatre. Yermolova, dir. Andreev (restored in 1974).
1967
- "Run"; Theatre. Yermolova, dir. Goncharov.
1968
- "The Adventures of Chichikov, or Dead Souls"; Studio Theatre actor, director. Orlov (restored in 1990).
1971
- "Golden Boy"; Theatre. Yermolova, dir. Andreev.
1975
· "White gold"; Theatre. Yermolova, dir. Andreev.
1977
· "Hamlet"; theater "Lenk", dir. A. Tarkovsky.
1978
· "Fifth column"; Moscow Art Theatre. Gorky, dir. N. Skorik.
· "Coast"; Little Theatre, dir. Andreev.
· "Murderer" ( "Crime and Punishment"); Riga Russian Drama
· Theatre, dir. M. Rozovskii.
· "Resident"; Theatre. Vakhtangov, dir. E. Simonov.
1984
- "Idiot"; DATS, dir. Eremin Yu.
1985
- "Khalid and Khalid"; Yakut Drama Theater. PA Oytunskogo, dir. A. Borisov.
1986
· "Article"; DATS, dir. Eremin Yu, S. roll.
· "The burden of the decision"; Satire Theatre, dir. Pluchek.
· "Black Bride"; Sverdlovsk Drama Theater, dir. V. Anisimov.
1987
· "Armchair"; Studio Theatre under the direction of Oleg Tabakov, dir.Tobacco.
· "Dream of the White Mountains"; Little Theatre, dir. Vladimir Sedov.
· "A game"; Little Theatre, dir. Andreev.
1993
· "Player Piano"; Studio Theatre under the direction of Oleg Tabakov, dir. Oleg Tabakov.
· "The Cabal of Hypocrites"; Moscow Art Theatre. Anton Chekhov, dir. A. Shapiro.
2006
· "Mary Stuart"; The branch of the Maly Theatre, dir. Ivanov.
Filmography
· 1963
· 1967
· " The lesson of literature ", dir. A. Koren; Mosfilm.
· 1968
· 1969
· 1970
· " Wonderful character ," dir. K. Warriors; Mosfilm.
· 1971
· 1972
· " White butterflies Ussuri ", dir. Erin S.; Mosfilm.
· 1973
· " Dr. Iven's Silence ", dir. B. Metalnikov; Mosfilm.
· 1974
· 1975
· " Height of Fear ", dir. A. Surin; Mosfilm.
· 1976
· 1977
· " Territory ", dir. A. Surin; Mosfilm.
· 1978
· " Hello, river ", dir. I. Yasulovich, P. Arsenov; Film Studio them.Gorky.
· " Wind Seek ", dir. B. Lyubomudrov; Sverdlovsk Film Studio.
· " Risk strategy ", dir. A. Proshkin; THAT "Screen".
· 1979
· " The girl and the dolphin ", dir. R. Zelma; THAT "Screen".
· " A strip of uncut wild flowers ", dir. Yu Ilienko; Film Studio them.Dovzhenko.
· " Bodyguard ", dir. A. Khamraev; Uzbekfilm.
· " Inspector Gull ", dir. A. Proshkin; THAT "Screen".
· 1980
· " Baba Yaga against! ", Dir. B. Baker; Soyuzmultfilm.
· " Investigation ", dir. M. Roar; Mosfilm.
· " Private person ", dir. A. Proshkin; THAT "Screen".
· " The night of birth ", dir. R. Zelma; THAT "Screen".
· " School ", dir. M. Ilienko; Odessa Film Studio.
· 1981
· " Old World Landowners ", dir. M. Ilienko; Film Studio them.Dovzhenko.
· " My love - revolution ", dir. O. Tulaev; Tajikfilm.
· " When whales go ", dir. A. Nitochkin; THAT "Screen".
· " Dangerous Age (considered terminated) ", dir. A. Proshkin; THAT "Screen".
· 1982
· " Rendezvous with youth ", dir. Popov; Mosfilm.
· " It was his father's three sons ," dir. Ivanov; Mosfilm.
· " White shaman ", dir. A. Nitochkin; THAT "Screen".
· 1983
· " To my! ", Dir. Levin; Mosfilm.
· " Hot Summer in Kabul ", dir. A. Khamraev; Mosfilm.
· " Mirgorod and its inhabitants ", dir. M. Ilienko; Film Studio them.Dovzhenko.
· " Way to Eternity (Cartoon) ", dir. B. Baker; Soyuzmultfilm.
· 1984
· " Moon Rainbow ", dir. A. Ermash; Mosfilm.
· " First Cavalry ", dir. B. Lyubomudrov; Mosfilm.
· " The Invisible Man ", dir. Zakharov; Mosfilm.
· " TASS is authorized to declare ", dir. Fokin; Film Studio them.Gorky.
· " Whether the bird, or beast " (cartoon), dir. B. Baker;Soyuzmultfilm.
· 1985
· " Every hunter wants to know ", dir. M. Ilienko; Film Studio them.Dovzhenko.
· " Coming Age ", dir. I. Khamraev; Lenfilm.
· 1986
· " Second on the heroism ", dir. E. Urazbaev Ohm Gil September;Mosfilm, the Korean film studio.
· " Without limitation period », dir. E. Hodzhikyan; Mosfilm.
· " We are cheerful, happy, talented ," dir. A. Surin; Mosfilm.
· " Last inspection ", dir. E. Khachaturov; Uzbekfilm.
· " The land of my childhood ," dir. A. Nitochkin; THAT "Screen".
· 1987
· " The End of Eternity ", dir. A. Ermash; Mosfilm.
· " Visit to the Minotaur ", dir. E. Urazbaev; Film Studio them. Gorky.
· 1988
· «Homer and Eddie» ( « Homer and Eddie "), dir. A. Konchalovsky ;Kings Road General Description Entertainment's / the Los Angeles Times ( USA ).
· " At dawn ," dir. Ya Lapshin; Sverdlovsk Film Studio.
· 1989
· " Ah-ah-ah ", dir. B. Baker; Soyuzmultfilm.
· 1990
· " Centering Transaction » ( «Heard of the deal» ), dir. Levikova M., J. Nyman; Chanticleer the Los Angeles Times Film (US).
· " The Executioner ", dir. V. Sergeev; Lenfilm.
· " Fringe ", dir. N. Repin; Kazakhfilm.
· 1991
· 1992
· «Double jeopardy» ( « double jeopardy "), dir. L. Schiller; the CBS -Lauren the Production / the Los Angeles Times (USA).
· 1993
· " Sin. The story of passion ", dir. V. Sergeev; Lenfilm.
· " Chopin. Sonata number two ", dir. K. Antropov; "LAD".
· 1994
· «Burial of the rats» ( « funeral rats "), dir. D. Golden; the Concorde Company About enterprise | / the Los Angeles Times (USA).
· 1995
· " Unfinished Karabakh Diary ", dir. E. Payazat; "Armenfilm".
· 1996
· "Parent's Day" (documentary)
· 1997
· «Odyssey» ( « The Odyssey "), dir. A. Konchalovsky ; the HallmarkEntertainment's the Production (USA).
· " The war is over. Forget ... ", dir. Kharchenko; Cinematography, Prometheus (Moscow), Nashe Kino.
· 1998
· 1999
· 2001
· " As Far As My Feet Will Carry Me ", dir. Martin Hardy, D.Astrachan ; Cascadeur Filmproduction ( Germany ), " BelarusFilm".
· 2002
· 2003
· 2004
· " Wealth ", dir. E. Urazbaev; "MostVideoFilm".
· 2005
· " Through the eyes of the wolf ", dir. Nikolay Voronovskii ; TPS "movie actor", Gorky Film Studio .
· 2006
· 2007
· 2008
· 2009
· "Secrets of Love", dir. Anastasia Popova.
· 2010
· 2011
· 2012
· " Moscow 2017 ", directed by George Bradshaw.
· 2013
· 2014
· 2015
[i] La sigla ANS, alude al compositor y teórico ruso Alexander Nikolayevich Scriabin (n. 6/01/1872 - m. 27/04/1915)
[ii] El cabezón lo está planificando.
[iii] El cabezón ya lo tiene planillado.
[iv] Cabezazo que estará en esta sección en próximas fechas.
Excelente primer amporte de Dark-ius!!! info de lujo y una entrada especial!!! Felicitaciones, un lujo! esperamos más de estos aportes :D
ReplyDeleteGracias, viejo Moe! Seguiré buscando con lupa para traer más de este tipo de posts!
DeleteWhere are the links??
ReplyDeleteDebes hacerte miembro de la lista
Delete