Vladimir Martynov is a innovator of the era of composers from the Soviet Union, given birth to after World Battle II, who pursued avant-garde classes at the same time when formal disfavor of such designs brought severe fines to career advancement, but didn’t carry the physical dangers of previous years in the USSR. He analyzed piano as a kid and gained a pastime in structure. He signed up for the Moscow Conservatory where he analyzed piano under Mezhlumov and structure under Sidelnikov. He graduated in 1971. He utilized the series (or twelve-tone) technique in his first mature compositions, like the String Quartet of 1966, the Concerto for oboe and flute (1968), Hexagramme for piano (1971) and a violin sonata of 1973. He got employment in 1973 operating at the studio room for digital music from the Scriabin Museum. For Soviet composers of the era, the studio room had quite similar meaning as the RIA Electronic Music Studio room in Milan, the Western German Radio studio room, as well as the ORTF Studio room in Paris–it was a gathering surface for the avant-garde. Sofya Gubaidulina, Sergei Nemtin, Alfred Schnittke, and Edison Denisov had been among the composers frequently working and conference there. Martynov helped type a rock and roll group known as Boomerang on the Scriabin Studio room. On their behalf he had written a rock and roll opera, St. Francis of Assisi (1978). He was a significant ethnomusicologist, learning the music from the Caucasian countries, Tajikistan, and different ethnic groupings within Russia. He also researched middle ages Russian and Traditional western music and spiritual musical background and musicology. This is a satisfactory field of research, but it addittionally allowed him to review theology, idea, and religious background as a way expressing his religious emotions. He began monitoring early Russian spiritual chant in the past due 1970s, and researched Renaissance music of such composers as Machaut, Gabrieli, Isaac, Dufay, and Dunstable, posting editions of their music. He became thinking about the make of minimalism developing in the Soviet Union in the past due 1970s, a static, spiritually-inspired design with no shimmering pulse of American minimalism. The classic quality of chants and having less a feeling of pub lines in Renaissance polyphony joined into his edition of minimalism. At concerning this period, he started teaching in the Theological Institute from the Trinity-Saint Sergeius, where he offers remained since. There was an interval of loan consolidation in the first 1980s where he published music specifically customized for make use of in church solutions, then resumed composing initial music in his minimalist design. One of is own major compositions is named a almost hour-long piece known as Opus Posthumum (1993), specialized in the theory that “a guy touches the reality twice. The very first time is the 1st cry from a fresh born baby’s lip area as well as the last may be the loss of life rattle. Everything between is usually untruth to a larger or smaller extent.” He also made up a very much shorter Opus Prenatum and a function known as Twelve Victories of King Arthur of Seven Pianos (1990). Because the fall from the Soviet Union, he offers written functions that undertake large Christian styles, such as for example Apocalypse (1991), Lamentations of Jeremiah (1992), Magnificat (1993), Stabat Mater (1994), and Requiem (1998). He offers recordings on Le Chant du Monde’s imprint “Les Saisons Russes” and on the Moscow centered indie label LongArms Information.