Music is the most powerful provider of oxygen. It speaks directly to your soul. – About Vangelis in the Shadows in the Cave

There are a lot of Polish themes in Vangelis’ music. In 1983 he wrote with John Anderson the animated piece “Polonaise” which was released on the album “Private Collection”. It was intended for the Poles who were covered in the darkness of martial law. Vangelis also composed three pieces for the Polish documentary “Testimony”, which tells about John Paul II.

He was 79 years old. Almost everyone knows his music. On “Shadows in the Cave” I paid homage to Vangelis last Friday. I especially remember his words about success and what is important in life:

Success works both ways. It’s still very difficult for me. I can’t chase success because it’s not the most important thing to me. I don’t want to become a slave to success and feel compelled to do the same thing over and over again. So stay away from such temptations. Just because I did something doesn’t mean I have to and will continue to do it.

Here you can listen to “Shadows in the Cave” dedicated to Vangelis:

Every work of Vangelis is close to me, it passes through tenderness and beauty, seasoned by its extraordinary sophistication. I would say fragility and even write it. Every phrase, every sound and pause in between subtly massages the ears, and in an instant, the soul that says in the words of Cyprien Camille Norroid:

“Beauty is enchanting in life.”

What can I say? Vangles He is simply the world champion in what he has done. Not knowing the notes, the theoretical stories and definitions about composition and composition, and finally learning to play the instruments on your own in order to achieve the musical Olympus alone is absolutely amazing.

I know for sure that in one hundred and two hundred and five hundred years–if we survive as a species (because I’ve been very suspicious of civilization references for some time now), later generations will talk about them as we do now about Mozart, Bach or Chopin. And it doesn’t matter if it’s my beloved album “spiral”with an unusual title and closing recording “3 + 3” and also close to my heart “El Greco”From 1998 with the participation of a lightweight soprano singer Montserrat Kabale (Unfortunately, listeners and critics did not appreciate it.)

Vangles And his musical stories for films, whether soundtracks “Fire vehicles” (The Oscar was given to Vangelis as he sleeps tastefully in his bed and doesn’t watch the Oscars), whether it’s a big bang. “1492 Conquest of Heaven” He is a composer, a music composer.

What about extraordinary cooperation? Of course, Ian Anderson, the hottest voice for Yes i On – Vangelis, immediately comes to mind.

Android HunterBoth the film and Vangelis’ soundtrack are captivatingly rich. It’s a very beautiful movie about the hunger for love, the feeling of freedom. Blade Runner It is also a picture of the limits of humanity, which we experience today when we see the following “milestones” made by artificial intelligence.

But it’s also a film about how heart and desire, broken by action, move mountains, as in Pawe of Tarsus’ Hymn of Love.

Blade RunnerJust like my loved ones “Seventh Seal”, “A Dream of Arizona” And the “Ashes and Diamonds” I must have watched hundreds of times already. At least a few hundred. I also remember my first time with this movie.

A pirate copy of VHS, fall 1986 and a handful of peers, somewhere under the skies of the Wożuczyn sugar factory. A big storm broke out outside the window, but we were still watching the movie. We weren’t afraid of anything. And it’s hard for me to believe, because I was under 15 at the time, but I can recreate those moments and emotions.

For it is a mysterious mixture of a thunderstorm, heavy drops pounding the windows with the mystical music of Vangelis and the extraordinary ending of the picture, preached by Roy Bate, on the mountain pass of the heart and soul forever!

Rutger Hauer as Roy Patty. This is his life role.

as such Roy Patty Unusual, because it overshadowed even Harrison Ford – Rutger Hauer. And the words are in that most important, because the film’s final scene, woven with enchanted rain and the flutter of white dove’s wings, looks just like this:

I’ve seen things you people wouldn’t believe. Assault ships blazing with fire slither behind Orion’s arms. I watched the radiation gleam in the dark near the gates of Tannhauser. All these moments will be lost in time like tears in the rain. It’s time to die.

For me, the atmosphere in “Blade Runner” is its crowding. From the first scene, we sense that something bad is about to happen in the bath of smog in the clouds, at the intersections of communication lines high in the sky with the city.

I think of Dante and the intermingling of the circles of Hell, except that there is no tree in the center here. And another important question, who is Judas and who is the killer along with Cassius and Brutus. These are those who rest in Dante’s “Divine Comedy” in Lucifer’s frozen mouth.

In “Blade Runner”, as viewers, we witness crowds, dirt, dust, and dust. The plot of the film itself is not very impressive. Narratively, it is wrapped around something that is neither trendy nor interesting to the masses.

“I try to modify the behavior of the character I play according to the mood of the story. One should influence the other. There should be a connection between them. There should be no grinding.” – Harrison Ford.

A rather elderly detective, who has already passed his peak, is to find a group of androids, about which little is known. This detective is not like the heroes of the classics of the genres. There are no amazing weapons or investigative team support and the police are rather reluctant. There are moments in the film whose actions seem strange and incomprehensible, but they attract the viewer minute by minute.

Deckard seems to us, just like any of us. He’s an ordinary guy with a bloodstream and a bone, and a whole slate of dramas small or big still plagues the head. But most often in the heart.

He fights androids, he gets a full lesson, and he can only be saved with a gun and a stroke of luck. I omitted discussions, about origami sleeping (from the art of origami) with a unicorn in the lead role, declaring that Deckard – Harrison He is human.

Not! Even director Ridley Scott’s statement in 2000 that Deckard is an Android doesn’t convince me! Suffice it to say that Harrison Ford himself has a different opinion to this day.

He said in one of the interviews:

We agreed with the director that Deckard is definitely not an exact copy. end, point.

But Scott’s announcement was also disappointed by Rutger Hauer, who stated in his autobiography that what the director had said

This reduced the final clash between Deckard and Patty, from a symbolic duel between man and machine, to a fight between two replicas.

But it all flows as a story only thanks to the mastery of Vangelis and his music. It is the music and singing of the stars that Pythagoras spoke to his disciples. There is another thing.

“Blade Runner” is a movie adaptation that, with a 40-year perspective, preoccupies people more than early viewers (and apparently) might think.

Because we explain it honestly and frankly! How many fantasy films made in the ’80s, and even before and after (but fortunately not to mention continuing, despite the roles of Ford and Gosling), can be considered a cinematic masterpiece?

Blade Runner a masterpiece. the total! But this wholeness, like a wave of sudden emotions and a soulful heart, owes to Vangelis’ music!

On June 25, on Friday, “Shadows in the Cave,” a special program dedicated to the movie “Blade Runner,” interpretations and references in art and culture, and of course Vangles music. I will have many musical surprises. Today marks the 40th anniversary of the world premiere of Ridley Scott’s Blade Runner. – Tomasz Wibranovsky

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