EDWARD ARTEMIEV

It's impossible to tell the tale of EDWARD ARTEMYEV, one of Soviet Russia's top electronic performers without explaining the context of his musical development. ARTEMYEV owed much of career to Yevgeniy Murzin, the engineer and mathematician who had spent years constructing a music synthesizer called the ANS which is a photoelectronic musical instrument which made it possible to obtain a visible image of a sound wave as well as synthesizing sounds from an artificially designed sound spectogram. The name ANS was derived from the occultist and theosophist Alexander Nikolayevich Scriaban who was also famous for his development of an atonal dissonant musical system and was influenced by synesthesia.

One of the drawbacks with Murzin's technological breakthrough was that he was unable to find a musician with a fertile enough imagination to unleash the unexplored possibilities that were lurking beneath the surface. Luckily in 1960, Murzin met ARTEMYEV who was a 22 year old graduate from the Moscow conservatory and found that ARTEMYEV was exactly who he was seeking to master the subtleties of his new creation. Although other composers such as Stanislav Kreichi, Alfred Schnittke, Edison Denisov and Sofia Gubaidulina are credited as using the ANS in their musical performances, it was really EDWARD ARTEMYEV who pushed its boundaries into the world of experimentalism and the avant-garde and thus became one of the greatest Russian composers of electronic music and is best known outside of Russia for his soundtracks for the Soviet films "Siberiade," "Stalker," "Burnt By The Sun" and this one, SOLARIS.

The film SOLARIS came out in 1972 and was a science fiction piece directed by Andrei Tarkovsky who would employ ARTEMYEV's soundtrack talents for many of his films. The plot of the film centers around a space station orbiting the fictional planet SOLARIS where scientific missions have been postponed due to the crew suffering from emotional breakdowns. The film was instrumental in bringing a greater human touch to sci-fi which were notorious for being technologically oriented and losing the emotional connections of the characters. The film itself is considered an all-time classic and one of the most far-thinking and original films to emerge out of the Soviet Union. The film was released in an unusual manner as well having appeared at only five theaters in the entire USSR in 1972 but remained in theaters for 15 years without any breaks. All of this has given it a cult status where it still remains in the present day.

While the film is an indisputable classic, the soundtrack on its own without the context of the film is arguable another matter altogether. In my opinion film music is often only interesting in the context of the film itself and has been specifically designed to heighten emotional reactions during the viewing. There are of course exceptions but i find soundtrack music more often than not fails to stand on its own merits and without this codependency isn't exactly a compelling listening experience without the visuals. I very much find this to be the case with SOLARIS due to the fact that the electronic music is rather abstract and only amplifies the plot of the movie. Without these anchors for experience the soundtrack itself comes off as a jumble of random movements with some fortified with J.S Bach organ pieces such as his "Ich rf' zu dir, Herr Jesu Christ, BMV 639" which can be heard strewn about the album's run.

While taken in context with the film, ARTEMYEV scored big time in crafting a mind-bending score that reinforces the starkness of the film's intensity. In order to really comprehend this soundtrack though, you'd really have to experience it in the context of the film first otherwise this may come off as avant-garde mumbo jumbo. The soundtrack is the perfect display for the full potential of the massive ANS synthesizer and unfortunately the only prototype of the ANS was destroyed shortly after this soundtrack was recorded which adds another level of mystery to the entire situation. Generally speaking the music involved her involves ambient tones and textures and although ARTEMYEV wanted to perform an exclusively ambient soundtrack, Tarkovsky wanted tidbits of recognizable music included. If this soundtrack wasn't weird enough, it wasn't even officially released when the film debuted in 1972 but quickly emerged as a bootleg. There seems to be various releases over the years including a Columbia Records vinyl release in 1978 as well as a TCMP CD release in 1995 but this soundtrack wouldn't find a so-called official remastering until 2013 in Russia on the Мирумир label which added 10 minutes of ambient sounds to the more standard 40 minute runs of the various preceding examples.

For those who are enthralled with dark ambient music steeped in electroacoustic bleakness with only occasional references to more standard Western classical sounds, you might find this a lot more appealing and as i stated this is a wonderful soundtrack in conjunct with the film itself but as a stand alone musical experience i can't say this one light's my fire like it seems to do with many. This is definitely a Russian classic that should be experienced simply because of the historical relevance but if you don't find this soundtrack music to top your list of progressive electronic releases don't feel bad. You're not alone. It also seems that there are at least 7 different album cover that have been released but personally i like the one with the giant space station tunnel and the bright yellow letters spelling out SOLARIS. Interestingly enough despite being completely Russian, both film and soundtrack, this has never been released with the Cyrillic alphabet or with Russian track titles to my knowledge anyways.

3.5 but rounded down

Movie music for soundtrack lovers.

There is no mystery that music for movies is conformed to fit movie audiences´ taste which usually has to to do more with the movie´s director or plot or/and visuals than the music itself. Sadly after looking under the rocks for this Edward Artemiev -Urga (1990), reality hit the fan and well this is quiet disappointing as far as the listening experience alone goes.

It withholds many of the 90´s movie music cliches and its parallel expressions in the New Age/World music genres, in those same years, and they have inevitably dated from overexposure .

No big news or surprises music composition wise neither beyond the criss/cross between "electronic" and "native/acoustic" elements in the clean cut environment of mainstream´s soundtrack standards.

So go to the real sources if you dig the, then and still overexploited, native music and chantings or get the movie itself.

Well I´ve heard better , much more better, same styled, OSTs.

***3 tops PA stars.

I should have paid more attention to the description of this CD before buying. I was expecting the ethereal and creepy sounds from the Andrei Tarkovskiy films of the early 70's. Imagine my disappointment then, on hearing this 1999 re-working of his most well known films.

This is a crushingly dull and cheesy album full of the worst 'New Agey' keyboards, artificial flutes, inane and emotionless electronics you're likely to hear this side of sub-standard 'Tangerine Dream' from the early nineties.

I think it's bang out of order that there's nothing on the sleeve that makes the buyer aware that they're purchasing a re-hash of what were once beautiful sounds. All the Electro-acoustics have vanished - replaced with a sickly, smooth and instantly forgettable vibe that belongs in a TV documentary about sperm whales and dolphins.

The fourth track 'Station' is quite good with a definite 'Blade Runner - Vangelis' feel running throughout. Unfortunately, throughout this recording, the schmalzy parts stand out far more than the interesting sections and they detract enormously. It's like having your head crushed in a vice whilst being force fed bucket loads of chocolate and cake.

What was once haunting now just sounds saccharine.

In 1984 Melodyia released Edward Artemiev's ''Ode to the herald of good", a work composed actually four years back, especially promoting the Olympic Games of Moscow in 1980, re-released with a pair of bonus pieces in 2002 on Electroshock Records as ''Three odes''.The album features Artemiev as an arranger and composer, handling also the keyboards, along with some guest vocalists and instrumental help by the Melody Ensemble, directed by Georgy Garanian, the State Orchestra of Cinematography, the State Russian Choir, the State Moscow Choir and the Children's Choir of Moscow Choir College.

Soundwise this one shows Artemiev moving a step closer to Symphonic Rock and Classical Music, still the album is strongly grounded in his principles as a composer of Electronic Music.''Ode to the herald of good" is actually a long suite, divided in seven pieces, which is based on electronic ambiences and symphonic orchestrations, however the presence of guitars, clean Russian vocals and drums make this a decent Symphonic/Electronic Rock entry.Spacey layers and synth-driven orchestrations meet with some bombastic guitar solos and leads with a heavy Classical aura, creating a dreamy and delicate listening experience.Vocals are an acquired taste, they sound a bit pompous and even poppy, trying to reach a wider audience.The album contains also lots of dominant choirs, which produce a cinematic atmosphere next to Artemiev's electronic explorations, he never actually abandoned his love for bizarre TANGERINE DREAM-like sequences, but the omnipresent vocals will even add a Pop Opera feel in the process.This step closer to Symphonic Rock is further powered by somekind of sampled organs and harsichord appearing in the album and this material will often flirt with HORIZONT, IN SPE and other ex-Soviet Progressive Rock combos.

I consider this work as a guiding light for the future works launched by bands like 7 OCEAN or LITTLE TRAGEDIES.The powerful vocal parts along with the Classical colors, grandiose orchestrations and heavy keyboard content are sure to please both fans of Symphonic Rock and Electronic Music.Recommended and genuine Symphonic/Electronic Opera, arranged by a monumental figure of Russian music.

It is a joke that Edward Artemiev wrote the soundtracks for nearly a half of Russian (and not only) movies and a 3/4 of cartoons, but there's a grain of truth in that joke. A pioneer of Russian electronic music, who is well-known for his innovative works with ANS synthesizer (which was a photo-electronic device whose mechanism is difficult to describe) whose unique sound he demonstrated, among other, in movies "Solaris" and "Mirror" directed by Andrey Tarkowsky, he made a succesful attempt to combine electronic music, symphoprog and elements of ethnic music in his memorable "Warmth of Earth" suite. Based on lyrics of Yury Rytkheu, a Chucotian poet who praised the beauty of nature, life of small northern folk Chukchi, this is a true masterpiece of a famous artist. Music is really beautiful and creates with talent the atmosphere of this large northern region sparsely populated by small folk, its way of life and traditions. The voice of Jeanne Rozhdestvenskaya, strong, then mellow and then strong again (in fact, it covers 4 octaves!), brings colours of peace and comfort. Birth of Earth/Who I Am! are the best tracks in my opinion. Highly recommended!

The pioneer of Russian Electronic Music and a composer of various soundtracks,Edward Artemiev was born in Novosibirsk in 1937 and studied at the Moscow Conservatory.Already from the 60's he show his interest on the new-born synth sound and wrote his first composition in 1967.During the 70's Artemiev collaborated with director Andrei Tarkovsky and wrote film scores for three of his movies: Solaris, Zerkalo and Stalker.His album ''Moods'' (the Russian translation of the cover is actually Mood-Pictures) from 1983, released on Melodyia, is a good example of his style,containing pieces from various cinema and theater movies.

His music has straight links with German Electronic legends TANGERINE DREAM.Floating analog synthesizers creating superb spacious and cosmic soundscapes with a trippy attitude.Actually the first side is very close to the style with some nervous synths alternating with great calm spacey electronics and only helped by the use of drums,while one track includes an acoustic guitar part.The second side is more grandiose and bombastic at moments with often a symphonic nature (VANGELIS comes to mind),while the drums have a more powerful sound and there is even some organ,flutes and, yes, some electric guitar minutes thrown in.Both styles though are quite fascinating and hide some inner dynamics you won't find in some other highly-praised but definitely more boring electronic albums.

The collection of instrumentals in ''Moods'' are an excellent start to explore this artist's discography.Nice Progressive Electronic Music with a good dose of changing themes and far from being hypnotic.Recommended.

Official position of professor of Soviet cultural university. And, Eduard Artemiev that held the chairman of the Soviet electronic music composer society successively appeared in 1937. The history is started as a synthetic music and a synthesizer player graduation from the composition department of advanced Academy of Music in Moscow later in 1960.

It is said that a large amount of material concerning music was always created after own studio is established in 1966. Journalists by the locale at that time were reporting that the music character that Eduard Artemiev had done in the 70's had devoted oneself to Rock. However, those opinions will be able to consider the situation as various respects.

Always music character that Eduard Artemiev did reformative point. There might certainly have been a flow of management and the inspection as their situations at that time. It was not a translation that completely at least managed the situation. A progressive and a reformative flow might have been at least becoming main currents for the item of music. It might have been Eduard Artemiev to have practiced them.

Music's for a famous worked of related of Eduard Artemiev as other respects movie work might have been mentioned. The derivation of the influence received from "Solaris" open to the public in 1972 and music might have at least had the influence in a local market. It might have been an opinion from another angle to the music character of Eduard Artemiev from which it was mentioned to journalism as an opinion and directionality.

Or, the Rock fan and some dealers paid attention to the wonderful music that Eduard Artemiev had done as work that Eduard Artemiev is related because the signature tune in the Moscow Olympics in 1980 was too a make as symphonic. Reformative music might not have applied to the part that had been especially managed as a result. Perhaps, it is guessed that there was an inspection related to lyrics. However, music was free. Progressive music of Russia that had been created in the situation might have been a treasure house for the fan of Prog Rock.

This album is a most important work at the history at latter term for Eduard Artemiev at that time. Boomerang Ensemble takes charge of ..performing concerning the recording of the album.. t. There is actually a theory that says that it is not related to the recording of this album at all Eduard Artemiev. However, the music character that Eduard Artemiev cultivated develops and is established. And, it is partial of complete construction with the synthetic music and symphonic that splendidly catches the age. They are completely constructed with this album and expressed.

The synthesizer used with this album is machine parts that is called EMS Synthi 100 made in the Soviet Union. It is said that there is a flavor besides the sound of the Moog synthesizer. The music character of Russia at that time might have appeared remarkably in the introduction of this machine parts to which it paid attention. This synthesizer is famous because it was possible to use it by "The Dark Side Of The Moon" that Pink Floyd announced. As for the history of music, in Eastern Europe at that time, consistently original pursuit and following the culture might have been given. When it is based, these music is guessed as details finished up in original music that is not to feel the influence of other music characters too much indeed. The introduction of a symphonic, electronic machine parts is projected to this album as a music character that Eduard Artemiev indeed at that time did. This album might have influenced very much for the fan of Prog Rock as music of fine quality. And, this album taken up with the earth and Global warming as the theme is grand overall as much as possible.

"Birth Of Earth" produces a complete dash feeling with SE of the explosive sound. Part of construction of rhythm unfolded in fast Passage where The irregular Beat was multiused. Part of Solo of complete guitar in close relation to obbligati of synthesizer with tension. It is a tune to decide the impression of this album.

"Who I Am" creates one complete space. The tune receives the top attended with the melody that gives a grand impression from the part of the song that flows quietly. The song gives the ability and the volume of one's voice as much as possible. A grand melody and an electronic sound twine effectively and advanced development is complete. It succeeds exactly as symphonic Rock of fine quality. The song shifts to the part of the scat and goes to the part of grander more symphonic on the way of the tune. The composition in which the sound and the space of an electronic sequence are felt will call overwhelming impression.

The melody of "Warmth Of Earth" with an acoustic guitar and the anacatesthesia is impressive. Part of melody of guitar with exhilaration one feels. The composition in which a sense of relief and a pastoral part are involved is splendid.

"On The Bank Of The Milky Way" is a perfect tune. The irregular Meter is multiused from Intro with overwhelming development and it advances. The song to get on the composition and a perfect melody shows off overwhelming powerful. The progress of Chord that has both the tension and the sense of relief will completely excite the listener. This tune can be counted as one of the highlights of this album. Melody to get on rhythm that multiuses nine rhythms. The impression of the tune is completely decided to an effective melody of the sound and the synthesizer of the guitar intensely sung. The composition where it goes to the melody to introduce in the part of Coda of the tune is perfect. It is correct and a masterpiece if it thinks as a tune of the part of a complete electron and original symphonic that is.

In "Farewell", a grand melody with the synthesizer is a feature. And, the line of Bass that supports the melody also contributes to the tune. Because the player is well versed in work concerning the recording with the studio as much as possible, the part of ensemble is complete. The sensibility to introduce a part of Solo of the guitar and a shining electronic sound effectively might be splendid. One space and story are recollected to this tune.

In "Expectation", the melody with a beautiful sequence and synthesizer is features. Processing of effective composition in which part and sound of gentle song are made to overlap. An electronic part and the part of symphonic shift to the part with the dash feeling and the sense of relief. The melody of the tune is grand as much as possible. There is a part where the music character of Atoll and Francois Breant is reminiscent as the impression.

The melody of an aggressive song in close relation to the part where a complete sequence is had both twines round "Rakkans". The rhythm that catches the age is a little reminiscent of the dance music. The effect of an electronic sound has been brought from this tune forward.

In "Hope", a beautiful melody and the song with an acoustic guitar are features. Processing of effective sound with synthesizer. Or, it contributes by the line of Bass. It consists as a tune with the form of a beautiful ballade.

"Where Are You?" is a tune with some elements of the dance music. The sound of E-Piano in close relation to a steady rhythm section has decided the impression of the tune. The introduction of Vocoder might also have taken it as an impression of the tune. Solo of the guitar is announced with stability.

In "Lonely Sail", the sound of the synthesizer with diversity is a feature. It shifts to the part where space is recollected because of a heavy flow of the melody and the part of the rhythm. The part of Electronics is expressed well. And, the melody and the rhythm of the guitar with the expression of feelings intermittently introduced expand the width of the tune.

"Hymn To Man" is a grand tune composed attended with the melody of complete symphonic. The composition that gives the melody with a transparent feeling and the sense of relief from the part of the sequence and is developed is splendid. Part of melody that produces expression of feelings and powerful song. The composition is complete. The performance exactly creates one space in union. All the atmosphere united with this album is blocked in this tune.

In the age, the music character that Eduard Artemiev had followed satisfactorily splendidly demonstrated the ability in this album. Uniting the part where an electronic sound and symphonic are good is completely expressed in this album.