簡介： 提起俄羅斯導(dǎo)演就不得不提塔爾科夫斯基（Andrei Tarkovsky），他以博大深邃的精神氣質(zhì)與莊重沉郁的詩性敘事開創(chuàng)出嶄新的藝術(shù)典范，是歷史上無可爭議的電影大家，而躲在塔爾科夫斯基身后的自然是他御用的電影配樂家Edward Artemiev，《飛向太空》（Solaris, 1 更多>
提起俄羅斯導(dǎo)演就不得不提塔爾科夫斯基（Andrei Tarkovsky），他以博大深邃的精神氣質(zhì)與莊重沉郁的詩性敘事開創(chuàng)出嶄新的藝術(shù)典范，是歷史上無可爭議的電影大家，而躲在塔爾科夫斯基身后的自然是他御用的電影配樂家Edward Artemiev，《飛向太空》（Solaris, 1972），《鏡子》（The Mirror [Zerkalo], 1974）這些電影配樂都是由Edward Artemiev精心完成的，除了世人皆知的電影配樂 才華外，Edward Artemiev同時(shí)也是俄羅斯的電子音樂先鋒，他從60年代就開始進(jìn)行電子音樂的創(chuàng)作。令人遺憾的是，在將近半個(gè)世紀(jì)過去后人們所津津樂道的僅是Pierre Schaffer，Karlheinz Stockhausen等歐陸大師，而Edward Artemiev為當(dāng)代電子音樂做出的巨大貢獻(xiàn)卻沒有得到應(yīng)有的濃重筆墨，這不能不說是歷史的一次偏頗與不公。
值得令人慶幸的是在1996年，恰好正逢塔爾科夫斯基逝世10周年之際，不知道是天意使然，還是冥冥之中自有注定，Edward Artemiev的兒子---Artemiy Artemiev成立了俄羅斯第一家電子音樂電子原音廠牌“Electroshock”，致力與出版俄羅斯和少量外國的電子音樂唱片。在過去的八年之間，“Electroshock”不僅如“盜墓者”般正式出版了Edward Artemiev早年的電子作品，讓這些創(chuàng)造了電子音樂黎明的巨作得以重見天日，更重要的是“Electroshock”構(gòu)建出俄羅斯電子音樂過去，現(xiàn)在，未來的大致輪廓。Artemiy Artemiev儼然成為了當(dāng)今俄羅斯電子音樂的領(lǐng)軍人物，將這片土地上最具創(chuàng)造力的音樂帶進(jìn)全世界樂迷的視線之內(nèi)?；⒏笩o犬子，用在Artemiy Artemiev倒是最合適
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 the 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 for Tarkovsky's Solaris, Zerkalo and Stalker. Later he also wrote film scores for films by Andrei Konchalovsky and Nikita Mikhalkov. His film scores and his music received several awards, including three Nika Awards. Recently, he ceded several pieces from the Solaris soundtrack to use them in the upcoming Spanish production The Cosmonaut
