Eduard Nikolaevich Artemyev (Russian: Эдуа́рд Никола́евич Арте́мьев) - Solaris OST (1972)
The soundtrack of Solaris features the chorale prelude for organ, Ich ruf’ zu dir, Herr Jesu Christ (BWV 639), by Johann Sebastian Bach, and an electronic score by Eduard Artemyev. The prelude is the central musical theme of Solaris. Tarkovsky initially wanted the film to be devoid of music and asked composer Artemyev to orchestrate ambient sounds as a musical score. The latter proposed subtly introducing orchestral music. In counterpoint to classical music as Earth's theme is fluid electronic music as the theme for the planet Solaris. The character of Hari has her own subtheme, a cantus firmus based upon J. S. Bach’s music featuring Artemyev’s composition atop it; it is heard at Hari’s death and at story’s end.
About the composer:
Eduard Nikolaevich Artemyev PAR (Russian: Эдуа́рд Никола́евич Арте́мьев; born 30 November 1937) is a Russian composer of electronic music and film scores. Outside of Russia he is mostly known for his soundtracks for films such as Solaris, Siberiade, Stalker or Burnt by the Sun.
Artemyev was born in Novosibirsk and studied at the Moscow Conservatory under Yuri Shaporin. His interest in electronic music and synthesizers began after his graduation in 1960 when electronic music was still in its infancy. He wrote his first composition in 1967 on one of the first synthesizers, the ANS synthesizer developed by the Soviet engineer Evgeny Murzin. He was thus one of the first composers and a pioneer of electronic music. His collaboration with the film director Andrei Tarkovsky in the 1970s made him well-known. He wrote the film scores of Tarkovsky's Solaris, Zerkalo and Stalker. Later he also wrote film scores for Andrei Konchalovsky and Nikita Mikhalkov. His film scores and his music received numerous accolades as well as three Nika Awards. Recently, he licensed several excerpts from the Solaris soundtrack in order to use them in the upcoming Spanish production The Cosmonaut.
In 2001 he won the Special Silver St. George at the 23rd Moscow International Film Festival.
Eduard Artemyev 's composition Campaign or Death of the hero (Siberiade theme) has been used at 2014 Winter Olympics opening ceremony in Sochi, and his music theme from At Home Among Strangers has been used at the closing ceremony.
About the ANS synthesizer:
The ANS synthesizer is a photoelectronic musical instrument created by Russian engineer Evgeny Murzin from 1937 to 1957. The technological basis of his invention was the method of graphical sound recording used in cinematography (developed in Russia concurrently with USA), which made it possible to obtain a visible image of a sound wave, as well as to realize the opposite goal—synthesizing a sound from an artificially drawn sound spectrogram.
In this case the sine waves generated by the ANS are printed onto five glass discs using a process that Murzin (an optical engineer) had to develop himself. Each disc has 144 individual tracks printed onto it, for a total of 720 microtones (discrete pitches), spanning 10 octaves. This yields a resolution of 1/72 octave (16.67 cents). The modulated light from these wheels is then projected onto the back of the synthesizer's interface. These are arranged in a continuous swath vertically, with low frequencies at the bottom and high frequencies at the top.
The user interface consists of a glass plate covered in non-drying opaque black mastic, which constitutes a drawing surface upon which the user makes marks by scratching through the mastic, and therefore allowing light to pass through at that point. In front of the glass plate sits a vertical bank of twenty photocells that send signals to twenty amplifiers and bandpass filters, each with its own gain adjust control. It is akin to a ten-octave equalizer with two knobs per octave. The ANS is fully polyphonic and will generate all 720 pitches simultaneously if required (a vertical scratch would accomplish this).
The glass plate can then be scanned left or right in front of the photocell bank in order to transcribe the drawing directly into pitches. In other words, it plays what one has drawn, similar to how a score is written. This process can be aided with a gear-motor drive (similar to an engineering lathe) or it can be moved manually. The scan speed is adjustable down to zero. The speed at which the score scans has no relation to pitch but serves only as a means of controlling duration.
Murzin named his invention in honour of the composer Alexander Nikolayevich Scriabin (ANS): Scriabin (1872–1915) was an occultist, theosophist, and early exponent of color-sound theories in composition. The synthesizer was housed in the electronic-music studio situated above the Scriabin Museum (just off of the Arbat in central Moscow) before moving to the basement of the central university on the corner of Bolshaya Nikitskaya. It was saved from the scrapheap thanks to Stanislav Kreichi, who persuaded the university to look after it.
The ANS was used by Stanislav Kreichi, Alfred Schnittke, Edison Denisov, Sofia Gubaidulina, and other Soviet composers. Edward Artemiev wrote many of his scores of the movies of Andrei Tarkovsky with the help of the ANS. Notably is Artemiev's score of Tarkovsky's Solaris in which the ANS was used to abstract, sci-fi effect akin to ambient music.
After several years at the Theremin Center, the ANS (there is only one—the original was destroyed and this is the improved version) is now located in the Glinka State Central Museum of Musical Culture in Moscow.
Има их више, наравно, али за ову прилику да поменем музику из филма Quemar las naves. С посљедњим кадром бацих се на скидање саундтрека, који од тада не силази с моје плејлисте. Ево, и док ово пишем, слушам је у позадини. А и сам филм ми је некако посред срца, па све то тај аудио угођај диже на неку вишу разину.
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А и сам филм ми је некако посред срца, па све то тај аудио угођај диже на неку вишу разину. 