Artemiev | Eduard Artemyev | Eduard Artemiev
the latter part of the 1950’s, the engineer and mathematician Yevgeniy
Murzin had a problem. He had just realized his life long dream of constructing
music synthesizer (then called "ANS") but knew no musician with sufficient
imagination to explore its vast potential. In
1960, upon meeting 22-year-old Edward Artemyev, a recent graduate of the
Moscow conservatoire, Murzin immediately felt he had found what he was
searching for in the young composer, who embraced the new instrument and
quickly mastered its many subtleties. Artemyev has since composed numerous
works varying from electronic avant-garde to film music. He is probably
best known for his collaboration with A. Tarkovskiy composing music for
his films: "SOLARIS" in 1972, "THE MIRROR" in 1975 and "STALKER" in 1979;
and with such filmmakers as Andrei Mikhalkov-Kontchalovskiy and Nikita
Eduard Artemyev is regarded
as the most firmly established among Russian composers of electronic music.
He learned his musical craft in Yuri Shaporin's compositions class. A
meeting in 1960 with Eugene Murzin, constructor of one of the first synthesizers,
triggered enormous impulses in Artemyev to make this unusual instrument
the basis of his activities. During this period he felt bound by the compositional
ideas of the avantgarde, and he was enthusiastic about the most varied
nuances of electronic sounds, which created an entirely independent atmosphere.
This understanding of music is expressed in his early compositions. His
extravagant music dovetailed excellently with the film concepts of the
well-known producer Andrei Tarkovsky. This resulted in sound tracks to
the science fiction films "Solaris", "The Mirror" and "Stalker".
His music became clearer in the middle of the 1970's. The academic tradition
met up with rock aesthetics. The most different styles flowed into his
music. An outstanding example of this is the cantata "Ode To The Herald
Of Good" for the 1980 Olympic Games in Moscow, based on a text by the
Frenchman Pierre de Coubertin. The musical symbiosis continued in symphonic
works and in poems.
In the 1980's his musical awareness matured, allowing the early avantgarde
ideas, as well as the various styles which later attracted his attention,
to flow into his compositions.
In the meantime he chose sound tracks as his most intensive field of activity.
Over 120 films bear his musical handwriting. Among them are the films
by Nikita Michalkov, Andrei Konchalovsky and Vadim Abdrashitov.
Over and above this, his repertoire includes works for the concert hall
and opera house. His international recognition has enabled to pay working
visits to various studios outside the USSR and to attend electronic music
festivals, as for instance in Bourges and in Baltimore.