Vladimir Martynov

Martynov,+Vladimir
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Vladimir Martynov studied piano as a child. Gaining an interest in composition, he enrolled in the Moscow Conservatory where he studied piano under Mikhail Mezhlumov and composition under Nikolai Sidelnikov, graduating in 1971.
In his early works, such as the String Quartet (1966), the Concerto for oboe and flute (1968), Hexagramme for piano (1971), and Violin sonata (1973), Vladimir Martynov used serial music (or twelve-tone) technique.

Education
Vladimir Martynov studied piano as a child. Gaining an interest in composition, he enrolled in the Moscow Conservatory where he studied piano under Mikhail Mezhlumov and composition under Nikolai Sidelnikov, graduating in 1971.

Martynov is known as a serious ethnomusicologist, specializing in the music of the Caucasian peoples, Tajikistan, and other ethnic groups in Russia. He studied medieval Russian and European music, as well as religious musical history and musicology. It also allowed him to study theology, religious philosophy and history. Vladimir Martynov began studying early Russian religious chant in the late 1970s; he also studied Renaissance music of such composers as Machaut, Gabrieli, Isaac, Dufay, and Dunstable, publishing editions of their music.

Career
In 1973, Martynov got a job at the studio for electronic music of the Alexander Scriabin Museum. For Soviet composers of this era, this studio provided a meeting ground for the avant-garde musicians.

Also, Martynov helped to form a rock group called Boomerang at the Scriabin Studio. For them he wrote a rock opera ‘Seraphic Visions from St. Francis of Assisi’ (1978). At about this time, he began teaching at the Academy of Trinity Lavra of St. Sergius in Sergiyev Posad.

Martynov has also authored several books and seminal articles on musical theory, history and philosophy of music.

Compositions
In his early works, such as the ‘String Quartet’ (1966), the ‘Concerto’ for oboe and flute (1968), ‘Hexagramme‘ for piano (1971) and ‘Violin sonata’ (1973), Vladimir Martynov used serial music (or twelve-tone) technique.

He became interested in the brand of minimalism developing in the Soviet Union in the late 1970s: a static, spiritually-inspired style without the shimmering pulse of American minimalism. There was a period of consolidation in the early 1980s where he wrote music specifically tailored for use in church services, then resuming writing original music in his minimalist style. Among his works from this period is ‘Come in!’ for violin and ensemble of 1988 which was performed by Gidon Kremer and by the composer’s partner, Tatiana Grindenko.

Since the fall of the Soviet Union, he has written works that take on large Christian themes, such as ‘Apocalypse’ (1991), ‘Lamentations of Jeremiah’ (1992), ‘Magnificat’ (1993), ‘Stabat Mater’ (1994), and ‘Requiem’ (1998).
One of his major compositions is a nearly hour-long piece called ‘Opus Posthumum‘ (1993), devoted to the idea that “a man touches the truth twice. The first time is the first cry from a new born baby’s lips and the last is the death rattle. Everything between is untruth to a greater or lesser extent.” He also composed a much shorter Opus Prenatum and a work called ‘Twelve Victories of King Arthur’ for seven pianos (1990).

He has recordings on Le Chant du Monde’s imprint “Les Saisons Russes” and on the Moscow-based independent label LongArms Records.

In 2009, London Philharmonic gave the world premiere of his opera ‘Vita Nuova’. Martynov’s composition ‘The Beatitudes’, as performed by Kronos Quartet, featured in La Grande Bellezza (The Great Beauty), the winner of the 2014 Academy Award for Best Foreign Language Film.

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