The recording of symphonic music for the film "The Train goes to the East" directed by Vsevolod Aravin took place in the First music Studio of Mosfilm. The production of the film is carried out by the film company "Salus Media" (script by Sergey Rusakov). Read more about the picture and work on the soundtrack to it Mosfilm.ru the composer Ivan Uryupin told.
According to the creators of the picture, the story unfolding in the film is shown through the eyes of a child. 1954 - The Soviet Union immediately after Stalin's death. The era is over, but not in the souls and memory of people. Seven–year-old Mishka, the son of a pilot officer, rides on the Trans-Siberian express "Moscow- Vladivostok" through a country frozen in anticipation of the future after the death of the leader. Along the way, the boy will meet dozens of very different people who love, hate, fear, overcome circumstances. In a week on the road, the boy will live a whole life, overcome his fears, protect his mother, show himself a real little man…
Musicians of the best Moscow orchestras, as well as soloists of the Moscow Philharmonic Symphony Orchestra were invited to record in the first Mosfilm music studio. The conductor was Alexey Vereshchagin (Bolshoi Theatre). The sound engineer is Gennady Papin. In one and a half shifts, about fifty minutes of musical material were recorded at Mosfilm.
- Of course, these are separate musical fragments. Very different - detective, lyrical, action scenes, suspense, children's theme. In general, this is a "road movie" by genre, a journey - so it was impossible to do with slow tracks alone," he noted in a comment for Mosfilm.ru composer Ivan Uryupin. - I have a lot of experience working with animated music – it helped, because such a format requires fast, frequently changing music, responsive to the video sequence, to the movements of the characters. Here is a game movie, there are scenes with, so to speak, a rich musical texture. Besides, it's a historical movie. And creating a certain era on the screen is also a serious task for a composer. I was trying to find a common denominator for many styles of that time and write my own music on this basis. I will not hide it, it was interesting to work.
- And what tasks have the directors and producers set for you?
- First of all, it is, of course, to recreate the atmosphere of Soviet films of the 1950s. According to mood, themes, orchestration. I wanted to immerse the viewer in that time, in those colors and sounds. After the Great Patriotic War, a kind of panegyric musical language was developed among composers – a complex of musical means characteristic of this period. But I did without borrowings and quotes – the music for the film is completely author's.
- It often happens that some group of instruments dominates in film music - for example, at one time violins were very fashionable. Do you have some kind of dominant tool?
- You know, every composer has his favorite instruments. I myself once loved the cello and French horn very much, but that time has passed. Now it would be difficult for me to single out a separate tool. Especially when you have a full–fledged symphony orchestra in front of you in the studio - musicians, as they say, need to be given cards in their hands. Somewhere we have a string group solo, somewhere brass soloists, and somewhere everyone, and woodwinds. The most important thing is that every musician understands his functions. When the task is clear, the performer plays with pleasure and full dedication. In general, the most pleasant moment in a studio recording is when musicians come up to you and thank you for the material. Someone wants to put their own solo on the ringtone, someone asks for a CD with a soundtrack recording.
- You actually recorded quite a voluminous material in one and a half shifts. How do you manage it?
- I try to respect the performing culture of each instrument, I try to organize the recording process so that its participants are as comfortable as possible. When you orchestrate your own music yourself, you can create a score that mega professional musicians instantly record with high quality. Maybe we will do the final mixing at Mosfilm, because there is no such Tonstudio anywhere else in Russia. Precisely, in order to record a symphony orchestra in Dolby format, in a six-channel sound. Personally, I am always glad that the whole orchestra can be recorded here in its entirety! The practice of recording the orchestra separately in groups, I think, is vicious. When the orchestra is assembled in the studio in full – everyone understands their role, there is a sense of the ensemble – it's great! Moreover, the studio's capabilities allow you to create the atmosphere of a concert hall. So Mosfilm is the only studio today where you can record music for movies at the highest professional level.
The premiere of the film "The Train goes to the East" and the release of the picture in the all-Russian film distribution are scheduled for April 2024.
According to the creators of the picture, the story unfolding in the film is shown through the eyes of a child. 1954 - The Soviet Union immediately after Stalin's death. The era is over, but not in the souls and memory of people. Seven–year-old Mishka, the son of a pilot officer, rides on the Trans-Siberian express "Moscow- Vladivostok" through a country frozen in anticipation of the future after the death of the leader. Along the way, the boy will meet dozens of very different people who love, hate, fear, overcome circumstances. In a week on the road, the boy will live a whole life, overcome his fears, protect his mother, show himself a real little man…
Musicians of the best Moscow orchestras, as well as soloists of the Moscow Philharmonic Symphony Orchestra were invited to record in the first Mosfilm music studio. The conductor was Alexey Vereshchagin (Bolshoi Theatre). The sound engineer is Gennady Papin. In one and a half shifts, about fifty minutes of musical material were recorded at Mosfilm.
- Of course, these are separate musical fragments. Very different - detective, lyrical, action scenes, suspense, children's theme. In general, this is a "road movie" by genre, a journey - so it was impossible to do with slow tracks alone," he noted in a comment for Mosfilm.ru composer Ivan Uryupin. - I have a lot of experience working with animated music – it helped, because such a format requires fast, frequently changing music, responsive to the video sequence, to the movements of the characters. Here is a game movie, there are scenes with, so to speak, a rich musical texture. Besides, it's a historical movie. And creating a certain era on the screen is also a serious task for a composer. I was trying to find a common denominator for many styles of that time and write my own music on this basis. I will not hide it, it was interesting to work.
- And what tasks have the directors and producers set for you?
- First of all, it is, of course, to recreate the atmosphere of Soviet films of the 1950s. According to mood, themes, orchestration. I wanted to immerse the viewer in that time, in those colors and sounds. After the Great Patriotic War, a kind of panegyric musical language was developed among composers – a complex of musical means characteristic of this period. But I did without borrowings and quotes – the music for the film is completely author's.
- It often happens that some group of instruments dominates in film music - for example, at one time violins were very fashionable. Do you have some kind of dominant tool?
- You know, every composer has his favorite instruments. I myself once loved the cello and French horn very much, but that time has passed. Now it would be difficult for me to single out a separate tool. Especially when you have a full–fledged symphony orchestra in front of you in the studio - musicians, as they say, need to be given cards in their hands. Somewhere we have a string group solo, somewhere brass soloists, and somewhere everyone, and woodwinds. The most important thing is that every musician understands his functions. When the task is clear, the performer plays with pleasure and full dedication. In general, the most pleasant moment in a studio recording is when musicians come up to you and thank you for the material. Someone wants to put their own solo on the ringtone, someone asks for a CD with a soundtrack recording.
- You actually recorded quite a voluminous material in one and a half shifts. How do you manage it?
- I try to respect the performing culture of each instrument, I try to organize the recording process so that its participants are as comfortable as possible. When you orchestrate your own music yourself, you can create a score that mega professional musicians instantly record with high quality. Maybe we will do the final mixing at Mosfilm, because there is no such Tonstudio anywhere else in Russia. Precisely, in order to record a symphony orchestra in Dolby format, in a six-channel sound. Personally, I am always glad that the whole orchestra can be recorded here in its entirety! The practice of recording the orchestra separately in groups, I think, is vicious. When the orchestra is assembled in the studio in full – everyone understands their role, there is a sense of the ensemble – it's great! Moreover, the studio's capabilities allow you to create the atmosphere of a concert hall. So Mosfilm is the only studio today where you can record music for movies at the highest professional level.
The premiere of the film "The Train goes to the East" and the release of the picture in the all-Russian film distribution are scheduled for April 2024.