Eduard Nikolaevich Artemiev turned out to be a time traveler.

He moved forward while the world was steadily moving backwards.

And even now, when everything is known in detail, people who have heard something about him, and maybe even wrote, are always confused in the eras, in the stalker routes of the pioneer, in the endless Siberian and other "hell" of the author.

Because well, it’s impossible for those stuffed with blogging propaganda “horror-horror, we are behind, blah blah blah” to realize that Artemiev was already studying the possibilities of electronic music in 1960 and, together with E. Murzin, was making the ANS optical synthesizer.

Is it necessary to clarify that engineer Murzin primarily invented optical systems for Soviet artillery and for the fire system of our fighters?

It was when on the other side, also a Russian engineer, was building the first synthesizers in London.

Leave fairy tales about "a lag of 20, 50, forever years."

We walked in the ranks of the vanguard.

As once there was a Russian painting.

Artemiev can confuse the chronological maps for you.

When you hear "Sibiriada" and it seems to you that you heard it from Vangelis, then put your brain in order: Vangelis was about eight years later, which is an eternity for modern music, and Mikhalkov's soundtrack in 1978 sounds mammoth ANS with a guitar under under the control of the son of a border guard officer from the Kuril Islands Yura Bogdanov.

Eduard Nikolaevich gathered amazing people around him, and this is also a talent.

When you hear Sakamoto from Artemyev, know that Sakamoto was ten years later than all that Artemyev has already indicated.

And in the case of Nyman - all 15. It's not at Artemiev that you hear all these best representatives of synthesizer and other film music - it's you who hear Artemiev from them.

Like this.

And also - about how it is written behind the Iron Curtain, which was also supposed to isolate Russian culture in both directions.

Artemiev, if he needed to, easily adapted any world styles, starting with the music for the westerns of the same Morricone, which is felt in the amazing theme “Among the Strangers”.

And whoever did not have tears splashing on the upper notes of the trumpet, he does not have a heart.

And westerns were not needed here, and now they are zero.

And without Artemyev's "Eastern" life would be just different.

And the tradition of Russian film music, too.

But he always went beyond the genre.

Just like a magician, or maybe a rebel and even somewhere a punk.

Sometimes his music in movies didn't just make that movie.

She was taller than this movie, bigger and certainly more deserving of eternity.

What happened.

An absolutely universal author: if you need a children's cartoon, please.

The only thing he never did was the so-called "stage" without living in an ivory tower.

Never breaking away from the traditions of the great Russian classics - that's just not a note.

Just where is he and where is the pop music - it's just not to respect yourself.

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As far as I remember, he did not like The Beatles, but he considered "Jesus Christ Superstar" to be an outstanding work.

And it's a pity that he never made his "Solaris" (this is a female name, therefore "his") in the form of a rock opera.

Then it was fashionable to operate with the concept of "rock opera".

But then we hear his Solaris in Tarkovsky's film.

Next to the prelude in F minor by Bach, and this is what happens - Artemiev in context and involuntary comparison is quite worthy of a world classic.

He was a person with whom it was necessary to talk, talk and talk, so that his knowledge and thoughts would accurately and widely flow into today's cultural world of Russia.

As the master himself said, “being satisfied with your music is the end.

Everything, on the stove - and goodbye.

You always think even after the release of the film: this is where I messed up.

And this musical word “blundered” is more valuable than other narcissistic speeches of modern cultural figures without self-reflection and self-irony.

Let's go put on a couple of discs of the amazing man Eduard Artemyev.

The point of view of the author may not coincide with the position of the editors.