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Aydar Gaynullin: “My music has its own face”

“Euphoria”, “Oxygen”, “Siberia. Monamur ”- these films are united by the fact that the music for them was written by a famous accordionist, vocalist and composer Aydar Gaynullin. On his work in the cinema, unusual instruments, modern soundtracks, as well as the upcoming anniversary concert at the Moscow International House of Music – in an interview with the portal “Culture. RF”.- Aydar, you are the winner of awards for music for the film Ivan Vyrypaev “Euphoria”. How did the collaboration with this director?

– We met before the movie “Euphoria.” At first I took part in his play “Genesis №2”. When I was offered, I hesitated for some time, agree or not, because I imagined the theater a little differently. I was shocked by this performance, but still I decided to try. We started rehearsing, and it turned out very interesting. This was my first experience in theater. In the performance I played the music of different composers in my work. Ivan liked my performance, and he asked if I could write music for his new film. “Euphoria,” by the way, is his first film as a director. I warned that I do not have composing education, and I did not compose before. Ivan said: “But you feel the music so subtly.” The film at that time was not yet. He showed me photographs of where the shootings would take place, he sent me a story, began to tune me in on what music should be, what needs to be emphasized, and I tried to compose. Everyone liked the music at once, to which I was surprised.

– Yes, it is interesting when the music appears first, and then a movie appears. And the whole group – cameramen, actors – first listen to the music, tune in, and then shoot the film. After “Euphoria” director Slava Ross turned to me. He really liked this job. At that time, the music from “Euphoria” was on everyone’s ringtones. Slava suggested that I write the music for the film “Siberia. My love”. A completely different task was set there, since half of the film had already been shot. It was necessary to compose, verifying the correspondence with the video material by seconds.

It was hard work, hard work, but I took it with pleasure, since the film itself seemed interesting to me. He received many international film awards. It was produced by Luc Besson and the largest company in Europe – EuropaCorp. They made the world roll of this film. Luc Besson said that he had not seen such films in Russia as “Siberia. My love”. He personally edited the final episodes.

And with Ivan Vyrypayev, and with Slava Ross, I got a tremendous experience, but completely different. Of course, with Slava it was more difficult, because there was a clear framework, he told me: “Here, in the seventh second, we must culminate, but in this part – enlightenment.” In addition, this film required some kind of exotic Siberian flavor. For this, I used unusual tools, such as the Tuvan igil. It has two strings, the head of the neck is made in the shape of a horse’s head, the instrument is held like a cello, you need to play with a bow. I tried to record it at home. Of course, I unprofessionally play igile, on hearing he tried to portray some squeaks, effects. Slava listened and said that this timbre fits perfectly, and I began to combine igil with an orchestra, with electronic sounds. Also in this film I used bansuri (Indian flute), Bashkir kurai (bass) for the image of the wind. In the film, I myself sang and played. Some parts were performed by Pavel Novikov – a musician who specializes in these instruments, he studied in India.

– What is your favorite film? Does music influence your perception of cinema, its assessment? Can music save a bad picture?

– It’s hard to say what my favorite movie is. I like different genres. There is no such that everything was perfect. Sometimes the plot is excellent, but the music is rather primitive, sometimes vice versa. Of course, music can save the picture, and sometimes it is thanks to the musical accompaniment that the film becomes popular with the audience and receives prestigious awards. I would not like to give examples, but surely it happens.

– In the USSR there was a whole constellation of film composers. Why did they write music that went to the people after the release of the picture, and today they use the ready-made studio music product more often? Is there any difference in the approach between writing music to the film in the Soviet period and the soundtrack now?

– Now, probably, another time, another music. If you look at our stage, the same thing happens there. The songs spin and disappear. Perhaps the fact is that before they composed not background music, but self-valuable music, it could exist separately. And now the music is often in the background, just accompanying the film.

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