Performers

Artyom Vasilev

Russia

Vasiliev, Artyom Mikhailovich Composer, author of symphonic, chamber, electroacoustic works, opera, 4 ballets. Member of the board of the Union of Moscow Composers, member of the board of the Composers Guild of the Russian Cinematographers' Union, President of the Russian Association of Electroacoustic Music, corresponding member of the Royal Academy of Music (2018), winner/nominee of the Golden Eagle (2014-2016, 2022), Golden Mask (2016-2017), APKiT (2020), Icarus (2022), Ugra (2014), Spirit of Fire (2014) festivals. He is the author of music for more than 40 films and TV series, among them historical films "Sofia", "Godunov", "Grozny" (directed by Alexei Andrianov, studio "Moschino", VGTRK, 2016-2018), "The Crew" (directed by Nikolai Lebedev, studio "Nikita Mikhalkov's TriTe", 2016), Champion of the World (directed by Alexei Sidorov, Nikita Mikhalkov's TriTe Studio, 2021), The End of a Beautiful Era (directed by Stanislav Govorukhin, Vertical Studio, 2015), Weekend (directed by Stanislav Govorukhin, Vertical Studio, 2014). Vasiliev's compositions have been performed at contemporary music concerts at the Moscow Conservatory, at the Moscow Autumn, Return and Moscow Forum festivals, as well as at contemporary music festivals in Europe and the USA, and have been released on CD. In May 2005 at Peacock Theatre (West End, London) premiered the ballet "The Ghost of Canterville" commissioned by The London Children's Ballet Company, in May 2007 and April 2013 at the same theatre the second ballet "The Mysterious Garden" written for this company was successfully performed. In December 2016 the Yekaterinburg State Academic Opera and Ballet Theatre premiered the ballet The Snow Queen directed by Vyacheslav Samodurov, the production was nominated for the Golden Mask Award and performed at the Bolshoi Theatre in Moscow. In 2013-2014, Artyom Vasiliev, together with I. Matvienko's studio, participated in the creation of music for the opening and closing ceremonies of the Winter Olympic Games in Sochi. Started studying music at the age of 12 under the guidance of G. I. Shatkovsky. In 1995 he graduated from the theoretical department of the Gnessin Music School where he studied composition with Professor Yuri Vorontsov and electroacoustic music with A. I. Kiselev, in 2000 he graduated from the composition department of the Moscow Conservatoire (class of Professor Yuri Vorontsov) and continued his postgraduate studies (2000-2002). In 1995 he trained in electroacoustic music at the Institute of Experimental Music (Bourges). In 1997 he trained at the electronic studio of the Hungarian Radio (Budapest). In 1999 he trained at the Department of Electroacoustic Music at the University of Birmingham. In 2001 he became a fellow of the Royal Academy of Music (London) where he completed the MMus Composition course (2001-2003) and obtained a Master of Music degree and then a PhD in 2010 (PhD, Doctor of Philosophy) in the class of Prof. Brian Elias. On his return from London to Moscow in 2010, A. Vasiliev combined his creative work with a PhD in Philosophy in the class of Prof. Brian Elias. Vasiliev combined his creative activity with his work at Yamaha Music (Russia) (until 2016) and at the Russian Public Television channel. He also teaches at the Moscow Conservatoire (since 2016 - course "Fundamentals of Media Music" at the postgraduate level and at the composition department, associate professor at the Department of Music and Information Technologies) and at the Gnesin Russian Academy of Music. Gnessin Russian Academy of Music (media composition course, film composer).

Kapchiz

Russia

Kapchiz project was created by Maxim Kapchiz, a musician and producer from Nizhny Novgorod, with the participation of Hans Holman and Gazgolder club in 2017. Being passionate about downtempo and electronic music with a pronounced dance sound, the project experimented a lot with sound and melodies and soon, its music acquired its own recognizable sound and style. The very first performance at the club Gazgolder literally delighted the sophisticated audience of the capital with an unusual combination of transparent romantic and ethnic melodies with a dense, uncompromisingly rocking groove. And in this today could not only make sure, but also enjoy quality Downtempo dance music the best venues of the capital. Kapchiz has also repeatedly confirmed the high level of his music and sound with his performances at Trip, Ogonek, Ananda and other festivals. Today Kapchiz is released on the world's most authoritative labels: Gazgolderclub Label, Kosa records, down, Serafin Audio Imprint, Lump records, Monada, Zolotaya Orda, Shango records, Baikal Nomads, downtempo baby!, Hug records, Kollektive Liebe, trndmsk, Cosmovision. His tracks have repeatedly been in the top 20 Beatport in the section downtempo & organic-house. Among the musicians who remix Kapchiz are Oddness, Sahale, Tommie G, Timbaletti, Lev Tatarov, Theo Gramal, Alex Doering, Puili & Chomba, K2WO, Eternal Moment and many others. The project performs programs in hybrid-live style, often with the participation of live musicians. These programs consist only of author's Translated with DeepL.com (free version)

Angelo Taylor

A classical school composer specializing in melodic electronic space music with 30 years of experience listens to contemporary musicians of various genres and shares his impressions. “A space sound can be created not only by synthesizers, but also by a symphony orchestra. You just listen to the soundtracks to such sci-fi movies as Star Trek, Star Wars, Megaladon, Battlefield Earth and so on - and you'll see what I mean. In this case, it's not so much the sound that is created, but a certain and very strong atmosphere, which is directly related to the quality of the content of the song. Also, when it comes to space music, which is created on synthesizers, there are a bit more possibilities. Along with the quality of the musical content, we can use sound processing. If an orchestra is almost not processed and its sound is taken as it is, synthesizer music is processed, and there are quite a lot of ways to process it. Basically, the composer's task is to “draw” a finished picture with the help of the tools available to him, which consists of both the musical ideas themselves and the processing technologies used, which would be associated with the coldness of the cosmic vacuum, for example, or with the view of a beautiful blossoming blue planet in the depths of the galaxy, and it will be a different cosmos. One would be cold and hostile, and the other would be gentle, pure, and tenderly melodious. I accept both ways for myself. Why did I start writing cosmic? I love science. I am yesterday's boy who dreamed of becoming an astronaut and seeing the first interstellar flights. I'm an old-school romantic, when my heart sank at the sight of a rocket or an airplane. And then, later, I realized that I was an instrument of beauty because I could hear it and record it. Later came a love for classical music, which is also very much about space or something even more mysterious and beautiful. I started to write music seriously very late, only at the age of 19, and I knew right away that it would be space music, because it allows me to fantasize about beautiful things, about something unearthly, about other worlds that I really want to explore. By this time I already knew the first space composers, such as Jean Michel Jarre, Didier Marouani, Janis Lucens, Kitaro and many others. Gradually came the realization that all this is not just space music, it is primarily instrumental music, very, very emotional. Space music developed in several parallel paths, take the same German composers like Klaus Schulz, Anugama, Karunesh, these are world famous new age composers, so called. They brought something particularly sublime, spiritual to instrumental music, because they were creating in Osho's ashram. I'm not a fan of Osho, but those people were really inspired by his teachings, so they were producing real music, emotional and beautiful. In the end it led me to the idea that to become a composer you have to first of all become yourself, to throw off all these masks that society puts on us and expose your real soul, and only then can a person be a real composer, because then he acts sincerely and creates something really unique. This cannot be taught, it is a whole, if you like, spiritual path, which can be realized only by oneself, because it is the same creative process. Even Rimsky-Korsakov said that creativity cannot be taught. Each composer has a very unique path and follows it in a special way. I associate space music with God, that's why I started to create it, because it is a connection with the beautiful, which is difficult to achieve in other ways.

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