Оригинальный текст интервью с композитором Камилем Жджеевским (Хроники Миртаны: Архолос)
Вот и обещанный мной оригинальный текст интервью с композитором и музыкантом Камилем Жджеевским, написавшим саундтрек для шикарнейшего дополнения к игре "Готика 2: Ночь Ворона" (Золотое издание), которое разработали сторонние талантливые и упорные разработчики в лице " The Chronicles Of Myrtana Team".
Их творение "Хроники Миртаны: Архолос" сразу же полюбилось готическому сообществу и лаконично влилось в классическую серию игр. Без громких заявлений данный факт говорит о качестве проделанной ребятами работы сам за себя. Немаловажную роль в успехе проекта сыграл и саундтрек, написанный Камилем при участии звукорежиссёра Шимона Навроцкого и оркестра Andante's Inferno.
Собственно, все длительные подводки и вступления оставим для моей основной статьи на ДЗЕН. Здесь же будет голый текст на английском языке, если кто-то хочет почитать оригинальную авторскую речь.
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- Good afternoon. Thank you very much
for agreeing to this interview. How are you feeling today? How did the day start for
you?
for agreeing to this interview. How are you feeling today? How did the day start for
you?
- Same as mostly everyday – cigarette
first, then listening a song that is stocked in my head lately. This time it’s Little
Blue by Jacob Collier.
first, then listening a song that is stocked in my head lately. This time it’s Little
Blue by Jacob Collier.
- Unfortunately, I cannot avoid
asking a few general questions, so let's get straight to them so that the
reader can get to know you as soon as possible...
asking a few general questions, so let's get straight to them so that the
reader can get to know you as soon as possible...
Please tell us a little bit about
yourself. How would you characterize yourself and your creative and
professional activities, so that your new interlocutor would immediately
understand who they are talking to?
yourself. How would you characterize yourself and your creative and
professional activities, so that your new interlocutor would immediately
understand who they are talking to?
I mainly see myself as a musician
and composer. That is what I love to do – being in the music world, so I listen
a lot of songs, covers, soundtracks. I believe there isn't a minute in my life
when a melody isn't playing in my mind (even when I'm sleeping).
and composer. That is what I love to do – being in the music world, so I listen
a lot of songs, covers, soundtracks. I believe there isn't a minute in my life
when a melody isn't playing in my mind (even when I'm sleeping).
- Where are you from and where do you call home now?
- I was born and grew up in the
northern part of Poland, near the sea. I currently live in Wrocław
(southwestern part of Poland).
northern part of Poland, near the sea. I currently live in Wrocław
(southwestern part of Poland).
- What inspired you to connect your life with music?
- I simply discovered that arranging
melodies and music into an organized set of sounds was magical. It was when I
was a kid.
melodies and music into an organized set of sounds was magical. It was when I
was a kid.
- Do you feel that your place of residence influences
your creative activity, for example, through unique landscapes, local
traditions and history, or the people around you?
your creative activity, for example, through unique landscapes, local
traditions and history, or the people around you?
- I don’t try to find inspirational
moments or places to do music. I just do. It’s addictive – when I listen good
music or write my own it’s like I’m in the other, magical world. I like this
feeling.
moments or places to do music. I just do. It’s addictive – when I listen good
music or write my own it’s like I’m in the other, magical world. I like this
feeling.
- How long have you been into music?
- Since I was 5 years old. My dad brought
a tiny accordion to our house and I was just fascinated how I could play sounds
on it. After some time I wanted to learn other instruments.
a tiny accordion to our house and I was just fascinated how I could play sounds
on it. After some time I wanted to learn other instruments.
- Have you ever been to Russia? If not, would you like
to come on tour or just as a tourist?
to come on tour or just as a tourist?
- No, I haven’t. I always see
countries by their music, so when I think Russia, I hear Rachmaninoff,
Rimsky-Korsakov, Tchaikovsky. There was some lightness in their music and
sharpness at the same time. I really like their works.
countries by their music, so when I think Russia, I hear Rachmaninoff,
Rimsky-Korsakov, Tchaikovsky. There was some lightness in their music and
sharpness at the same time. I really like their works.
- What do you listen to besides symphonic music? How
have your musical preferences changed over your life and who was your first
idol?
have your musical preferences changed over your life and who was your first
idol?
- I’m in love with musicals as well,
but I listen to every genre with pleasure, if a piece is well written, well
arranged and performed. I think that my musical taste hasn’t changed a lot. It
was every time symphonic music on the first place.
but I listen to every genre with pleasure, if a piece is well written, well
arranged and performed. I think that my musical taste hasn’t changed a lot. It
was every time symphonic music on the first place.
- Please tell us about the main stages of your musical
development. How did you come to what you are doing now?
development. How did you come to what you are doing now?
- Luckily for me, since music high
school I had the pleasure of meeting people, who were very passionate about
music. We organized many concerts together, where I took part as an arranger or
composer and conductor. Some of our projects were truly impressive. It was a
great opportunity for me to hear my own scores live and work with musicians who
showered me with a lot of advice on how to write for instruments.
school I had the pleasure of meeting people, who were very passionate about
music. We organized many concerts together, where I took part as an arranger or
composer and conductor. Some of our projects were truly impressive. It was a
great opportunity for me to hear my own scores live and work with musicians who
showered me with a lot of advice on how to write for instruments.
- On a scale of 1 to 10, how difficult is it to conduct
an orchestra?
an orchestra?
- I don’t have much experience in
conducting, I’ve been learning that for a short time, but I can say it’s not as
simple as it seems to be. Every gesture or hand movement or even eye contact is
important. The conductor is also, or at least should be in my opinion, a guide
to the score, he should have extensive historical and theoretical knowledge
about specific pieces, so that he can convey his interpretation to the
orchestra in his own way and prepare it well for performance. You also need the
ability to work with a team of several dozen or even several hundred musicians.
Many skills are needed at the same time – that's why it is so difficult.
conducting, I’ve been learning that for a short time, but I can say it’s not as
simple as it seems to be. Every gesture or hand movement or even eye contact is
important. The conductor is also, or at least should be in my opinion, a guide
to the score, he should have extensive historical and theoretical knowledge
about specific pieces, so that he can convey his interpretation to the
orchestra in his own way and prepare it well for performance. You also need the
ability to work with a team of several dozen or even several hundred musicians.
Many skills are needed at the same time – that's why it is so difficult.
- I hope you don't think this is a silly question, but
why does a conductor need a baton? Is it the only way a conductor communicates
with the orchestra?
why does a conductor need a baton? Is it the only way a conductor communicates
with the orchestra?
- Actually, doesn’t. There are
conductors that don’t use a baton or use it not every time. You might as well
just use your hands to conduct. The baton is an extension of the conductor's
hand, so with a small movement of the hand you can make a larger movement with a
baton, making this movement more visible to everyone. My favorite video in this
matter is Vienna Philharmonic conducted by Leonard Bernstein with encore
performance of final movement of Haydn Symphony No. 88. He starts with a baton
and then let orchestra play when he only looks at them and give little
suggestions with his facial expressions.
conductors that don’t use a baton or use it not every time. You might as well
just use your hands to conduct. The baton is an extension of the conductor's
hand, so with a small movement of the hand you can make a larger movement with a
baton, making this movement more visible to everyone. My favorite video in this
matter is Vienna Philharmonic conducted by Leonard Bernstein with encore
performance of final movement of Haydn Symphony No. 88. He starts with a baton
and then let orchestra play when he only looks at them and give little
suggestions with his facial expressions.
- Is it important for a composer/conductor to have a
complete understanding of the intonations and playing techniques of the
instruments in their orchestra, or is it enough to have a general understanding
to give signals like "play staccato, here it's quieter, and here we'll
have a crescendo"?
complete understanding of the intonations and playing techniques of the
instruments in their orchestra, or is it enough to have a general understanding
to give signals like "play staccato, here it's quieter, and here we'll
have a crescendo"?
- Yes, it is. Composer, to know how
to write properly for instruments, needs to know about playing techniques,
which are sometimes completely different on each instrument. For example, when
it comes to violin, you can play two or even three notes at the same time, if
you need that in your piece, you need to know which finger positioning on the
fingerboard is possible to play. On the trumpet there are trills (rapid
alternation between two adjacent notes) impossible to play. Harp (one of my
favorites) can play one scale. Seven pedals are used for changing a pitch of
every note in scale, so you can create a lot of them, but some chords cannot
exist or are very difficult to play with multiple pedal changes. Conductor
needs similar knowledge (perhaps not as much as a composer) to give some
performance advices.
to write properly for instruments, needs to know about playing techniques,
which are sometimes completely different on each instrument. For example, when
it comes to violin, you can play two or even three notes at the same time, if
you need that in your piece, you need to know which finger positioning on the
fingerboard is possible to play. On the trumpet there are trills (rapid
alternation between two adjacent notes) impossible to play. Harp (one of my
favorites) can play one scale. Seven pedals are used for changing a pitch of
every note in scale, so you can create a lot of them, but some chords cannot
exist or are very difficult to play with multiple pedal changes. Conductor
needs similar knowledge (perhaps not as much as a composer) to give some
performance advices.
- Do you play video games? If so, what is your favorite
game?
game?
- I do, but not that much. I'm not a
good game reviewer because I suspect I pay more attention to the music than the
gameplay, so I can just mention Skyrim, Witcher 3 or God of War.
good game reviewer because I suspect I pay more attention to the music than the
gameplay, so I can just mention Skyrim, Witcher 3 or God of War.
- Which game soundtrack do you consider to be the best?
- Baldur's Gate 3 soundtrack is a
masterpiece. I love how Borislav Slavov plays with themes.
masterpiece. I love how Borislav Slavov plays with themes.
- There are many mods and fan-made add-ons for the Gothic series. Not every such product is of real interest to players. Even I, who haven't played computer games for many years, after learning about the "Chronicles of Myrtana: Archolos" project, wanted to dive back into the world of this game universe. Your magnificent soundtrack, which perfectly captures the atmosphere of this wonderful game, was a significant factor in this desire.
Have you ever played any of the
Gothic games yourself, or did you just work on a commission from the
developers?
Gothic games yourself, or did you just work on a commission from the
developers?
- I'm glad to hear such words. Thank
you very much on behalf of the entire team. Gothic II was the first game that
really fascinated me. That world was splendid for me. When I was a teenager, I
spent many hours with this game. Every night I fell asleep with the soundtrack
in my ears. I couldn't break free from gothic lore for a long time, so it
wasn’t that hard for me to feel this vibe and transfer to the score. More
difficult was to stop thinking how I want to write this music and start to
think of how Gothic II music could sound on another map.
you very much on behalf of the entire team. Gothic II was the first game that
really fascinated me. That world was splendid for me. When I was a teenager, I
spent many hours with this game. Every night I fell asleep with the soundtrack
in my ears. I couldn't break free from gothic lore for a long time, so it
wasn’t that hard for me to feel this vibe and transfer to the score. More
difficult was to stop thinking how I want to write this music and start to
think of how Gothic II music could sound on another map.
- How did you get acquainted with The Chronicles Of Myrtana Team?
- A team member messaged me on some
gothic forum and asked if I’m interested in doing music for one of the gothic
mods. I’ve always wanted to do that, so I said Yes.
gothic forum and asked if I’m interested in doing music for one of the gothic
mods. I’ve always wanted to do that, so I said Yes.
- Was this your first time working
with Szymon Nawrocki?
with Szymon Nawrocki?
- We met each other during this
project and it was our first time working together. I appreciate his work in
developing the sound of our music.
project and it was our first time working together. I appreciate his work in
developing the sound of our music.
- How do you build your music creation process and how much time does it take on average for one completed track from idea to mastering?
- It’s always kind of magic to me,
because sometimes when I think about some part of music, nothing comes to my
mind for a long time, and then there is a moment when an idea suddenly appears
in my head. I cannot explain it, but it’s an amazing feeling. Sometimes it
takes a day or two to write a track, sometimes a week is not enough. Depends on
what you’re writing, for what instruments, how are you feeling, what’s the
weather or where you are. Postproduction length process is different with every
track. In The Chronicles of Myrtana it took around 2 years from recordings
until final mastering. Quite long, but remember that we were full-time working
people at that time and we were doing it in our free time.
because sometimes when I think about some part of music, nothing comes to my
mind for a long time, and then there is a moment when an idea suddenly appears
in my head. I cannot explain it, but it’s an amazing feeling. Sometimes it
takes a day or two to write a track, sometimes a week is not enough. Depends on
what you’re writing, for what instruments, how are you feeling, what’s the
weather or where you are. Postproduction length process is different with every
track. In The Chronicles of Myrtana it took around 2 years from recordings
until final mastering. Quite long, but remember that we were full-time working
people at that time and we were doing it in our free time.
- What is the main difficulty of working on a game soundtrack?
- Perfect matching music to the image (whatever it is). Trivial – I know.
- Do you know Kai personally? Or
maybe you can boast of being acquainted with some other famous composers? For
example, with Paul Romero or Jeremy Soule.
maybe you can boast of being acquainted with some other famous composers? For
example, with Paul Romero or Jeremy Soule.
- Unfortunately, I haven’t met them
personally. Kai messaged me to congratulate the music from The Chronicles of
Myrtana. It was very nice of him.
personally. Kai messaged me to congratulate the music from The Chronicles of
Myrtana. It was very nice of him.
- Will there be any updated or new soundtracks in Archolos 2.0?
- It's not a secret. There will be just few new tracks. We will also add tracks you can ask to be played in taverns by musicians.
- What musical instruments do
you play to one degree or another?
you play to one degree or another?
- I’ve learned to play the saxophone
and piano in high school. I haven’t play the saxophone for a long time, but until
now I use piano when I compose.
and piano in high school. I haven’t play the saxophone for a long time, but until
now I use piano when I compose.
- Do you know such an
instrument, the talharpa? It is sometimes called tagelharpa, bowed lyre or
jouhikko depending on its appearance and the country it comes from. And in
general, what ethnic instruments have you had the chance to work with?
instrument, the talharpa? It is sometimes called tagelharpa, bowed lyre or
jouhikko depending on its appearance and the country it comes from. And in
general, what ethnic instruments have you had the chance to work with?
- Yes, I’ve seen this instrument.
It’s similar in sound to other lira kind instruments, such us Byzantine lyra.
For making Archolos soundtrack I invited my friend, Michał Kaczor to play parts
of ethnic instruments. He played the oud lute, amazing Arabic instrument, horns
and duduk. I love the sound of duduk. It’s used in most of desert scene
soundtracks. You can hear it also in Dune: Part Two (amazing combination with
modern synths in a track called A Time of Quiet Between the Storms)
It’s similar in sound to other lira kind instruments, such us Byzantine lyra.
For making Archolos soundtrack I invited my friend, Michał Kaczor to play parts
of ethnic instruments. He played the oud lute, amazing Arabic instrument, horns
and duduk. I love the sound of duduk. It’s used in most of desert scene
soundtracks. You can hear it also in Dune: Part Two (amazing combination with
modern synths in a track called A Time of Quiet Between the Storms)
- Have you ever used VSTi in your
projects? And what audio recording software do you use?
projects? And what audio recording software do you use?
- I have. I use it a lot. They’re getting better and better in sound.
It’s nice to have full orchestra in your computer. My DAW is Cubase.
It’s nice to have full orchestra in your computer. My DAW is Cubase.
- Do you sometimes listen to what
you write, and what composition of yours you like the most?
you write, and what composition of yours you like the most?
- I do when I need to. After it’s
finished I don’t, because it’s just too much when you hear it thousands of time
a day to make it better. After it’s finished it’s not for me, but for
listeners. Basically, I don't attach any feeling to my works. I put my whole heart into it when I work on it - just try to do my work as
best as I can, but when it’s done I just hope people will find it interesting.
finished I don’t, because it’s just too much when you hear it thousands of time
a day to make it better. After it’s finished it’s not for me, but for
listeners. Basically, I don't attach any feeling to my works. I put my whole heart into it when I work on it - just try to do my work as
best as I can, but when it’s done I just hope people will find it interesting.
- Have you ever used VSTi in your
projects? And what audio recording software do you use?
projects? And what audio recording software do you use?
- I have. I use it a lot. They’re
getting better and better in sound. It’s nice to have full orchestra in your
computer. My DAW is Cubase.
getting better and better in sound. It’s nice to have full orchestra in your
computer. My DAW is Cubase.
- Do you sometimes listen to what
you write, and what composition of yours you like the most?
you write, and what composition of yours you like the most?
- I do when I need to. After it’s
finished I don’t, because it’s just too much when you hear it thousands of time
a day to make it better. After it’s finished it’s not for me, but for
listeners. Basically, I don't attach any feeling to my works. I put my whole heart into it when I work on it - just try to do my work as
best as I can, but when it’s done I just hope people will find it interesting.
finished I don’t, because it’s just too much when you hear it thousands of time
a day to make it better. After it’s finished it’s not for me, but for
listeners. Basically, I don't attach any feeling to my works. I put my whole heart into it when I work on it - just try to do my work as
best as I can, but when it’s done I just hope people will find it interesting.
- I am far from an expert in
such matters, but what orchestral arrangement scheme do you use? As a person
who writes almost everything on VSTi, I am personally interested in how to
arrange my virtual orchestra so that it sounds the most natural.
such matters, but what orchestral arrangement scheme do you use? As a person
who writes almost everything on VSTi, I am personally interested in how to
arrange my virtual orchestra so that it sounds the most natural.
- Making virtual instrument more
natural is not only about putting right notes, but also programming your
instrument plug-in, which is not simple. If you ask about arrangement itself, I
recommend to analyze scores of great composers to find what instruments sound
best together in a harmony. My favorite sound combination is cello with French
horns, but you can experiment with others. I always try to imagine which
instrument now should I use for this or that melody, which one would be the
best. This case is the best part of composing. Creating structures and painting
with the sound. You can use different techniques to combine instruments
together, for example pizzicato on double bass would fit perfectly with timpani
hits.
natural is not only about putting right notes, but also programming your
instrument plug-in, which is not simple. If you ask about arrangement itself, I
recommend to analyze scores of great composers to find what instruments sound
best together in a harmony. My favorite sound combination is cello with French
horns, but you can experiment with others. I always try to imagine which
instrument now should I use for this or that melody, which one would be the
best. This case is the best part of composing. Creating structures and painting
with the sound. You can use different techniques to combine instruments
together, for example pizzicato on double bass would fit perfectly with timpani
hits.
- I realize that people learn
this art professionally, sometimes for a lifetime, but what would you recommend
to self-taught composers to read, watch or listen to if they want to write a
believable, professionally sounding symphonic composition?
this art professionally, sometimes for a lifetime, but what would you recommend
to self-taught composers to read, watch or listen to if they want to write a
believable, professionally sounding symphonic composition?
- It's simple - read everything,
watch everything and listen to everything about the music that interests you.
At first you will see that you may be copying others’ works (which is not a bad
thing), but over time you will find your own style. It's good to know music
theory, it makes learning about this world much easier.
watch everything and listen to everything about the music that interests you.
At first you will see that you may be copying others’ works (which is not a bad
thing), but over time you will find your own style. It's good to know music
theory, it makes learning about this world much easier.
- What projects, which you
can talk about, are you preparing in the near future?
can talk about, are you preparing in the near future?
- Me and my friend are working on our
stage musical. We'll see how it goes. Also, with The Chronicled of Myrtana Team
we are working on Mod of the Decade Edition.
stage musical. We'll see how it goes. Also, with The Chronicled of Myrtana Team
we are working on Mod of the Decade Edition.
- What game series or, perhaps,
movie franchise would you like to work with?
movie franchise would you like to work with?
- Every project, as long as it is
created by people with passion, is worth the effort and work on it. I try not
to plan too much or have too high expectations about my musical career, because
the more you expect from life, the more often you are disappointed. I also
realize that there are many composers a thousand times better than me, and it's
not bad not to be one of the best. I try to be the best I can be, the rest will
somehow fall into place.
created by people with passion, is worth the effort and work on it. I try not
to plan too much or have too high expectations about my musical career, because
the more you expect from life, the more often you are disappointed. I also
realize that there are many composers a thousand times better than me, and it's
not bad not to be one of the best. I try to be the best I can be, the rest will
somehow fall into place.
- How do you take a break from
music? What allows you to relieve the accumulated stress and prevent your work
from turning into a routine?
music? What allows you to relieve the accumulated stress and prevent your work
from turning into a routine?
- I don’t feel like I need to take
a break from music, but when I don’t feel good, when I’m not in the mood, I
don’t push myself to write and then I play or listen to my favorite pieces.
Best you can do, when you don’t have an idea, just wait for it.
a break from music, but when I don’t feel good, when I’m not in the mood, I
don’t push myself to write and then I play or listen to my favorite pieces.
Best you can do, when you don’t have an idea, just wait for it.
- What advice can you give to
people who want to become composers?
people who want to become composers?
- Try to think first of what you’d
like to do and then do it. Don’t let the computer or AI or anything think for
you when it comes to creating art.
like to do and then do it. Don’t let the computer or AI or anything think for
you when it comes to creating art.
- Thank you very
much! It was very interesting for me to have the experience of communicating
with you. I think my readers will also appreciate your contribution to the
development of the world of Gothic, as well as modern symphonic music! I would
be very happy if someday we can meet outside the Internet and communicate more
freely!
much! It was very interesting for me to have the experience of communicating
with you. I think my readers will also appreciate your contribution to the
development of the world of Gothic, as well as modern symphonic music! I would
be very happy if someday we can meet outside the Internet and communicate more
freely!
- Pleasure is
all mine. Best wishes for you and your readers.
all mine. Best wishes for you and your readers.
***
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СПАСИБО ЗА ПОДДЕРЖКУ КАНАЛА ВЫРАЖАЮ:
• АЛЕКСЕЮ МАКСИМОВУ
• ГЕРМАНУ БАРСУКОВУ
• HI BRO и
• АЛЁНЕ ЛЁШИНОЙ
И конечно же, ещё раз ОТ ВСЕЙ ЛУШИ БЛАГОДАРЮ "готические" сообщества:
synth10
интервью
архолос
камил жджеевский
хроники миртаны
готика 2
piranha bytes
gothic the game
game ost
игровые саундтреки