The Screen Behind The Mirror released as the fourth album in the Enigma line. It brought the project to what would become a maturity of the "first age" in the saga, being the last album to use the old Enigma style where fresh ideas infused with mystery, philosophy, and sensuality were extensively coupled with samples from other and older works. In the case of The Screen Behind The Mirror this was done with Carl Orff's famous Carmina Burana, most specifically O Fortuna, a movement lamenting the woes of fortune. Especially Gravity of Love and Camera Obscura makes use of it.
The Screen Behind the Mirror is a 2000 music album created by the musical project Enigma. It is Enigma's fourth album. Recorded at the A.R.T. Studios in Ibiza, Spain, it was released worldwide by Virgin Records.
The Vienna Art Orchestra is a 15-member jazz orchestra that features the avant-garde arrangements and compositions of its leader, pianist Mathias Ruegg. This is a reissue of their 1980 debut, an important document in the post-modern jazz movement. The opening, title track is a joyous, folkish tango that's been cartoonishly toyed with, featuring three solo sections. The marimba section is also ornamented with vocalese from Lauren Newton, followed by an extremely playful horn lead that sounds like a toy instrument. The solo offering from violinist Rudi Berger has an electronically effected fusion sound. A tight, alto sax solo by Wolfgang Puschnig ties everything together neatly with a lengthy, unaccompanied performance.
Edward Artemiev is best known for his electronic music scores to three of Andrei Tarkovsky's most striking films: Solaris (1972), The Mirror (1974), and Stalker (1979). Then it comes as no surprise that the music has been packaged and repackaged in various ways, official (including their first appearance in the mid-'80s on the Soviet record label Melodia) or not. This collection remains the most extensive and best presented. First released by Torso Kino in 1990, it has been reissued on the label of the composer's son in 1999. The particularity of this album resides in its track list. Choosing against logic, it alternates pieces (or "scenes") from Stalker and Solaris - there is only one track from Mirror. Artemiev likes to use one main theme for each film and develop variations around it…