Vladimir Martynov – the orthodox minimalist – is one of the key figures of modern music culture. He started as representative of vanguard being one of the most radical ones among Soviet composers of this direction. The period of 1976-1978 years is extremely important in creative evolution of the composer. Turn from hyper constructivism of vanguard to a “new simplicity” meant a passage to a minimalist composition (including minimal music style, historic styles and genres and art rock aesthetics), to its rituality in music, to religious theme. In 1975-1976 V. Martynov took part in concerts of ensemble of ancient music (bloc-flute) performing music of XIII-XIV centuries of Italy, France, Spain. In 1976-1977 he played in Moscow ensemble of soloists (piano, electro keyboard instruments) performing vanguard, electro and minimal music (Keig, Stockhausen, Ligeti, Raili, Feldman, Silvestrov, Artemiev, Martynov and also West European music of The Middle Ages).

In 1978 V. Martynov left composer’s activity and devotes himself to religion. He teaches in church academy of Trinity-Sergiev Lavra (from 1979 till now). He encodes and restores ancient relics of Russian public worship singing, studies ancient song manuscripts in several monasteries. He creates music for public worship on a base of ancient canons. In 1984 he came back to a composition. Canonic type of creativity. Postmodern. Minimalism. Technique of bri-collage. The most significant works: ”Come in!”, “Jeremy’s Cry”, “Apocalypse”, “Night in Galitzia”, “Magnificat”, “Requiem”, “Exercises and dances of Gvido”.

Martynov writes music for theatre plays, cooperates with such directors as Y. Lyubimov, A. Vasiliev. He is the author of soundtracks to more than 50 films ("Cold Summer of 53d", "Nikolai Vavilov", "Russian Riot", "Island".