Vyacheslav Artyomov

"Listening to this music (Requiem) again after a few years really brings home what a sensitive ear Artyomov has, and amplifies how carefully and tellingly he deploys his huge resources, especially piano and percussion, in this work. His vocal writing is also expert, both for soloists and chorus. Often there is a sense of note spinning in this kind of repertoire, but in its very different way this work reveals Artyomov's adeptness in writing for voices ... His goal was nothing short of a large scale work which would act as a vehicle for national expiation. For all the terror, catastrophe and violence implied in this piece, its extremity is somehow reined in. It never gets too much, and there is a profound formal elegance at play ... I have known it (Requiem) for not far short of twenty years and it still grips, moves, and surprises at every turn." – (from: Richard Hanlon. Music Web International. 2019)

"Artyomov chooses to play the card of monumental pathos: his Requiem is a vast cry that alternates revolt and elegy, vehemence and lamentation. The mass of the choruses is combined with a powerful orchestra that is further strengthened by the organ and the bells. From the dissonance of the most tense moments (Dies Irae, Tuba Mirum), to the plaints of feminine voices rising in calmness, everything is done to upset the listener, to force him to face the suffering of the Russia. In an irony of history, Khrennikov, who had organized the boycott of Artyomov, also ends up recognizing the greatness of his enemy in his hearing of this work ... We would almost think of Salieri faced with the Requiem of Mozart in Amadeus." – (from: Sarah Léon (Classica, France) – translation by Stephen Sutton, 4 March 2019)

"The Symphony (In Spe) is superb, wonderful. But Latin Hymns is divine truly: it is the best choral work I have heard since Mahler's 8th Symphony." – (Stephen Sutton, CEO, Divine Art Recordings Group, 24 January 2019)

"Artyomov writes big, ambitious tunes; listening to his music — and also on this Way to Olympus CD – we always feel small; Artyomov is a being who understands and has mastery of the universe while we are merely hairless monkeys on a speck of dust on the distant tip of the Sagittarius arm of the Milky Way." (JMC. The Chronicle, 13 September 2018. www.chronicleseries.co.uk)

"Way to Olympus is a complex, thoughtful and ultimately satisfying symphony. If it had a chance, I believe it could be one of the ‘great' examples of this genre for our time. Gurian Hymn is a gorgeous work that is both inspiring and thoughtful. The concept of the four disparate layers working out their own destiny is memorable and moving. Vyacheslav Artyomov's music parallels the beauty of the sonnets, with its emphasis on the everlasting cycle of life and death. Preludes to Sonnets remind me of late Scriabin; truly stunning." – John France (MusicWeb International, 2018)

"A Symphony of Elegies – this profound and essentially unique work can equally be seen as a musical equivalent of Eastern meditation, in its mostly un-rhythmic flow in which time and movement seem to lose meaning, the two solo violins in their highest register creating a vision of observation from above. It is an astounding creation, occupying a unique place for its composer and for Russian music from the last quarter of the 20th century. Artyomov is undoubtedly a successor to Scriabin: inhabiting a mystical world, certainly, but one founded upon natural, basic principles, which at its most compelling illuminates aspects of human existence in a way not approached by any other composer." – Robert Mathew-Walker (notes for A Symphony of Elegies CD, 2018)

"Symphony: The Way to Olympus. It is a beautifully paced, sprawling and highly evocative sound poem for orchestra, here recorded some time ago but sounding gloriously well ... I hear a penetrating inwardness and a contrastingly outward skyrocketing elation to the music. The work is very dramatic, moving, original ... Artyomov on the basis of this volume and the others comes before us as a tragically underappreciated Modern master, a Russian Ives in terms of creating beautifully advanced music in spite of social neglect and isolation. His time has come. He is a Russian master that has suffered neglect for far too long. It is time we celebrate his music. It is High Modern in a very evocative way. It is not easily forgotten once you give it your full attention! Bravo! ☆☆☆☆☆" – Grego Applegate Edwards (Classical Modern Music. 18 July 2018)

"Music that is by turns riotously colourful, knowingly confrontational and profoundly moving ... This fascinating disc (Way to Olympus) provides a decent starting point for listeners keen to investigate the strangely diffuse but parallel worlds of a Russian composer whose oeuvre seems consistently unpredictable. While the riotous Symphony gets the top billing, I would actually dare to suggest that the deeply impressive Gurian Hymn is well worth the disc's asking price on its own." – Richard Hanlon (MusicWeb International, July, 2018)

"This recording of the two suites, in particular, served as an excellent introduction to the work of Artyomov and encouraged me to seek out of his Requiem and his symphony On the Threshold of a Bright World. Having heard these I shall certainly be on the lookout for further recordings of works by this composer who is the only composer now creating serious monumental compositions of tremendous strength and beauty. He is Bruckner of the 21st century." (Teodor Currentzis, conductor). [email protected] (iClassical rating *****, July 31, 2018)

"It is always interesting to encounter works by composers with whom one is unfamiliar and on this occasion it was truly stimulating and has set me on the road to exploring further treasures by Artyomov. There seems to be a genuine spirituality and sense of dignity underlying his works and if you are prepared to listen attentively you will find this music communicates with you in a most direct manner. A revelation!" – [email protected] (iClassical rating *****, July 31, 2018)

"Vyacheslav Artyomov's one-movement symphony (Way to Olympus) is the atmospheric centrepiece of this disc – the layering of sounds is hypnotic and the effect is powerful!" – Freya Parr (BBC Music Magazine, September,2018)

"(Artyomov) has certainly written a good deal, notably two cycles of symphonies: Symphony of the Way, which is a tetralogy consisting of Way to Olympus, On the Threshold of a Bright World, Gentle Emanation and The Morning Star Arises, and The Star of Exodus, a trilogy with soloists consisting of In Memoriam, In Spe and In Gloriam (the last possibly unfinished). Some parts of these have been recorded, along with other works, and the enterprising Divine Art label is in the process of reissuing them. There is also a Requiem, apparently the first to be written in Russia since the 1917 revolution, which has been much praised. I look forward to exploring more Artyomov." – (from: Stephen Barber, MWI, 13 November 2018)

"Artyomov writes big, ambitious tunes; listening to his music — and also on this (Way to Olympus) the fourth CD – we always feel small; Artyomov is a being who understands and has mastery of the universe while we are merely hairless monkeys on a speck of dust on the distant tip of the Sagittarius arm of the Milky Way." – (from: Jeremy Condliffe. The Congleton Chronicle, 13 September 2018)

"(Requiem) Here is a great masterpiece, and no mistake. The first-ever setting of the Roman liturgy by a Russian composer, this great work appeared in the final days of the Soviet Union, which caused something of a sensation at its Moscow premiere – not only for the fact of its existence, but also for the originality and masterly quality of the composer's invention. Artyomov is without question one of the greatest living composers." – (from: Robert Matthew-Walker. Musical Opinion Magazine, October–December 2018)

"(Requiem) It is world's apart from the Mozart and Fauré requiems for example, and instead has the same sense of 'finality' as do the Berlioz and Verdi scores, but with a much more universal overtone to it, and has a way of lingering in your mind long after audition. It was written for the millions of Russians who suffered and died by the hands of tyranny, but still resounds today for all of those killed due to greed and intolerance." – (from: Jean-Yves Duperron – October 2018, classicalmusicsentinel.com)

"In keeping with expectations associated with Requiem this work is a grand statement. Its subject matter is as much about Russia, its people and their tragic history as about Christianity and Eternity. Artyomov's musical language is hard-hitting but not avant-garde in any West Coast or London Round House sense. Artyomov has made a renewed impact in the last two years and this is largely due to the recording label, Divine Art. I say 'renewed' because in previous decades his music has been available thorough Olympia, Melodiya, Gramzapis, Boheme and Mobile Fidelity. If you need to orientate yourself with this composer then try the site's reviews of The Way to Olympus (review review), Sola Fide and the symphonies (review ~ review). Robert Matthew-Walker's now very rarely-found book on Artyomov was published in 1997 y DGR Books of St Austell." – (from: Rob Barnett. Music Web International, 15 November 2018)

"Vyacheslav Artyomov prefers not to call his music 'contemporary', but uses a special term to denote its inclusion in the Tradition – 'musica perennis' ('eternal music'). A distinctive feature of the composer's works is their spirituality and loftiness, deep religiousness. According to the author 'Music is the greatest achievement of human genius. And it is the only cultural phenomenon that promotes the development of high moral qualities in people.' " – (from: iskusstvo.pro 2018/03/01)

"Surprise! This is a fully developed voice in new music, someone who has carried over the mysterious cosmos of late Scriabin and Messiaen and made something new out of the unrealized potentials that lurked behind those composers' most prescient creations. Artyomov speaks to me, in elegant and vivid eloquence. The Russian National Orchestra under conductors Teodor Currentzis and Vladimir Ponkin bring this complex and very personal music into vivid relief against the seeming silence of the universe. Artyomov travels in the wake of those before and manages to say something new and different. That is a remarkable achievement and he most certainly deserves a hearing. All you modernists and seekers of the new look no further, at least today. Give a listen to Vyacheslav Artyomov on this very moving sample of his work. It gives us another way to thread the futurist needle." – Grego Applegate Edwards (Gapplegate Classical Modern Music, February 16, 2017)

"The profound, spiritual nature of Vyacheslav Petrovich Artyomov's music has led the conductor Teodor Currentzis to liken the Russian composer, who was born in 1940 in Moscow and is considered Russia's greatest living composer, to Anton Bruckner. For admirers of Artyomov's works the release of these recordings of two of his finest symphonies (each is quite arresting and beautiful), along with the additional works that are included and the excellence of the conductors and musicians, surely will be welcome and perhaps will lead to new insights and appreciation. For those new to Artyomov's works, they are an excellent introduction to a composer of genius. Majestic and dramatic at times, reflective and interior at others, and some times playful, On the Threshold of a Bright World and Gentle Emanation seeks to depict the awe-inspiring mystery of God. This is not the music of a Russian Orthodox Divine Liturgy. It is, however, music that captures a sense of God as the mysterious, uncontainable, uncreated light, and human beings as creatures struggling to meet their God, music that has at its core a clear understanding of the Orthodox faith." – (from: Rev. Kevin Bezner. Music for the Soul by Vyacheslav Artyomov, Russia's Greatest Living Composer, January 22, 2017)

"Vyacheslav Artyomov is considered by many to be Russia's greatest living composer ... His music is deep, ultimately spiritual and brilliantly crafted, with influences from the Russian symphonic tradition colored by Mahler, Honegger and Messiaen to name a few – but melded into a unique voice." (Kathryn Marshall. "Divine Art", 2016)

"What cannot be emphasized too strongly is the nobility and sincerity of genuine spirituality which informs so much of Artyomov's art. It is an astounding creation, occupying a unique place for its composer and for Russian music in the last quarter of the 20th century." (Robert Matthew-Walker. "Elegies" CD by Olympia, 1993).

"Artyomov would appear to be just the sort of composer whose appearance is especially timely at this point in the life of his country ... His music and his artistic outlook in general reflect the questing for a new order of spiritual values as well as a new regard for individuality." (Richard Freed. Kennedy Center Stagebill, September 1990)

"What we are witnessing is music that dares simply to exist, shining like the sun, allowing us to bask in its warmth … The first part of the tetralogy, the Way to Olympus, is stunning ... Artyomov's On the Threshold of a Bright World is even more rare – it is a work of genius" (Octavio Roca. The Washington Times, September 24, 1990)

"Both of Artyomov's records (symphonies) are retrospective collections of orchestral music, from as early as 1990 and revised as recently as 2011. The Russian composer writes in a range of styles, from the straightforward and neoclassical to atmospheric and aggressively modern. With this flexibility of approach his music never sounds quite stable or steady. Even short works threaten to rupture and swerve from the expected. What may start off sounding like Ligetian density and volume can quickly revert to the bizarre playfulness of a Mahler scherzo. This stylistic cosmopolitanism is a strength that keeps the music afloat, even through a couple of hours. It also presents something of a challenge, in that there is little that is predictable or that can be taken for granted in any of the works recorded here. This constant demand for attention can be tiring, but is usually rewarding. I must admit that I'd never heard of Artyomov before getting these records, but I certainly find myself wanting to hear more!" – (from: George Adams. American Record Guide. April 2017)

"In the age of minimalism and abstraction Artyomov stands apart – his music is created to serve a greater purpose, much in the same way as the later works of Scriabin and the music of Messiaen." (Stephen A. Whealton. Way to Olympus CD by Mobile Fidelity, 1989)

"Many consider Vyacheslav Artyomov Russia's greatest living composer. Sola Fide underwent a lengthy gestation. It began in the early 1980s with a suggestion from Nikita Dolgushin, a Leningrad-based dancer and choreographer, that Artyomov compose a ballet based on Aleksey Tolstoy's trilogy Road to Calvary. A libretto was initially mooted 'after the novel' from Valeriya Lyubetskaya. This turned out not to be feasible. The composer thus adapted the subject, retaining the novel's principal characters, especially that of the Poet, who symbolizes Culture – the creation and dissemination of which justifies humanity. The death of the Poet signifies the collapse of Humankind. Artyomov decided on a ballet-requiem, employing a full choir and soloists. Due to pressures of work the ballet was put on hold, but a Requiem emerged dedicated to the 'Martyrs of long-suffering Russia'. It was premiered in 1988. It was not until 2016 that Sola Fide was finally completed. It consists of 30 episodes in 3 acts, 10 of which are shared with the Requiem. The episodes are forged into five suites: Katia, Dasha, Poet, The Terrible Days and Catastrophe. This recording includes Katia and The Terrible Days, two suites shared with the Requiem. Once again the composer dedicated the ballet to the 'Martyrs of long-suffering Russia' ... This captivating release will no doubt stir me on to explore more of this composer's strikingly potent music." – (from: Stephen Greenbank. MWI, June 2018)

He was a participant in many European musical venues since 1979. Festivals of his music: "Festival of the Premiers" (Moscow, 1994), "Artyomov-Festival" (Amsterdam, 1997). His works were nominated for the State Prizes in Russia and prestigious prizes in the US. They appeared on more than 30 CDs in USA, United Kingdom, Germany and Russia. His selected works began to be published in 2000 in Moscow (8 volumes were issued). Artyomov is an actual member of the Russian Academy of Natural Sciences, president of the Foundation for Spiritual Creation, and holder of the Order of Friendship (2010). "Man of the year – 2016".

In 1975, he joined the improvisation group "Astreya", together with the composers Sofia Gubaidulina and Viktor Suslin. In 1979, he was blacklisted as one of the Khrennikov's Seven at the Sixth Congress of the Union of Soviet Composers for unapproved participation in some festivals of Soviet music in the West.

Artyomov was preparing to become a physicist, studying music at the same time. He finished studying at the musical college affiliated to the Moscow Conservatory (composition class of A. Pirumov), then graduated from the Moscow Conservatory in 1968, where he studied composition with Nikolai Sidelnikov and piano with Tovi Logovinsky. He became a member of the Union of Soviet Composers and Association for Contemporary Music (ACM). He was active as an editor at the Moscow publishers "Musyka" for several years.

Vyacheslav Petrovich Artyomov (Russian: Вячесла́в Петро́вич Артё́мов; born June 29, 1940, in Moscow) is a Russian and Soviet composer.

Digest of press reviews on Artyomov’s ten CDs released by Divine Art during last three years (see “Quotations” below). For the first time in recent decades, enthusiastic assessments of contemporary Russian culture have appeared in the foreign press. The reason was a series of ten CDs with recording of works by the Russian composer Vyacheslav Artyomov, which was released by the English-American company Divine Art as a tribute to the composer on the occasion of his 80th anniversary. The series has provoked great public resonance to Artyomov's music and the avalanche of reviews in popular music editions like Gramophone, American Record Guide, Pizzicato, Musical Opinion, Fanfare, The Classical Reviewer, etc. They often contain expressions such as «the most unusual talent today», «a work of exceptional beauty», «new order of spiritual values», «masterpiece», «unforgettable and touching», «magnificent», «bravo». Some consider Artyomov as “one of the greatest living composers” (MusicWebInternational), “one of the most individual and distinctive composers not just in the music of his native Russia but in Western Classical music as a whole!” (Musical Opinion), for others “The series of issues and re-issues of the music of Vyacheslav Artyomov on Divine Art is one of the primary revival events of the past decade… It is time we celebrate his music—as the most bracing and original music of our times”(Classical Modern Music). Some reviewers recall that Mstislav Rostropovich, who ordered and performed three Artyomov's symphonies (two of them performed by Teodor Currentzis and Vladimir Ashkenazi were included in the present series), was absolutely visionary saying: “Artyomov has absolutely clear and unique composer’s image... Artyomov brings glory to our country and to Russian art”. The French edition Classica had remembered even the former persecutor of Artyomov—Tikhon Khrennikov, who “by the irony of history (like A.Salieri who after listening to Mozart’s Requiem in Amadeus said: «Forgive your assassin! Mozart!») also eventually recognized the greatness of his enemy” and after the performance of Artyomov's Requiem told journalists: “Artyomov is outstanding composer. His Requiem has raised Russian music to the unattainable previously height. I’m sure it is due to Artyomov that we have not only reached the European level in this genre, but surpassed its acmes—Requiems by Mozart and Verdi”. Christian edition The Christian Review writes: “The profound, spiritual nature of Vyacheslav Petrovich Artyomov’s music led the conductor Teodor Currentzis to liken the Russian composer, who was born in 1940 in Moscow and is considered Russia’s greatest living composer, to Anton Bruckner”. Due to the great interest in Artyomov's work, Divine Art decided to supplement the series by releasing new discs. Disc Astraea containing joint improvisations on non-orchestral instruments of composers V.Artyomov, S.Gubaidulina and V.Suslin was released in January 2020 (re-release of the 1994 disc). The Artyomov's eleventh CD (Album XI), which includes mostly unreleased chamber works by the composer, is expected in May 2020. (R.Gruzdkov. Way Up, 3, 2020)

"For the past half-century, Vyacheslav Artyomov (b1940) has proved himself again and again to be one of the most individual and distinctive composers not just in the music of his native Russia but in Western Classical music as a whole ... Artyomov's harmonic and rhythmic patterns, and its underlying pulse, while almost glacially slow at times are more varied and never static. Rather, the music seems at some stratospheric height, its invention stretched out over an entirely different timeframe, or timeframe of reference. Its three movements are captivating, mesmerising, utterly compelling. Superb." – (from: Guy Rickards, Musical Opinion, January – March, 2019)

"As the author, over 20 years ago now, of the first book ever to be published on the music of Vyacheslav Artyomov (born 1940), it has been a singular pleasure for me to have witnessed his slow but growing acceptance by many to become Russia's greatest living composer. As Divine Art has rightly claimed, after the fall of the Soviet regime his music has travelled the world to great acclaim. It is deep, ultimately spiritual and brilliantly crafted, with influences from the Russian symphonic tradition coloured by Mahler, Scriabin, Honegger and Messiaen to name a few — but melded into a unique voice! The tradition Artyomov follows on much of the CD here is that of Russian ballet, and this new release contains two further suites drawn from his ballet 'Sola Fide' ('Only by Faith'), based on Tolstoi's novel The Road to Calvary, and therefore naturally sharing the ethos and music of Artyomov's Requiem — the first Requiem (1985–88) to be written by a Russian, let alone a Soviet, composer." – (from: Robert Matthew-Walker. Musical Opinion, April – June 2018)