Artyomov: Gentle Emanation Symphony, etc

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Catalogue No: DDA 25144
EAN/UPC: 809730514425
Artists: , ,
Composers:
Release Date: November 2016
Genres:
Periods:
Discs: 1
Total Playing Time: 71:25

The foremost composer living in Russia today, Artyomov is producing works in the grand symphonic and post-Romantic traditions, unquestionably masterpieces of the modern age. The ‘Gentle Emanation’ symphony, part of his tetralogy ‘Symphony of the Way’ is typically underpinned by his deep spirituality but is universal and cosmic in scope. Tristia II is a fantasy for piano and orchestra which incorporates prayers and readings from the writings of Nicolai Gogol.

A companion CD contains the symphony ‘On the Threshold of a Bright World’ and other works (DDA 25143).

Track Listing

    Vyacheslav Artyomov:

  1. I. Gentle Emanation − Episode 1 (3:28)
  2. II. Gentle Emanation − Episode 2 (0:46)
  3. III. Gentle Emanation − Episode 3 (1:56)
  4. IV. Gentle Emanation − Episode 4 (1:28)
  5. V. Gentle Emanation − Episode 5 (1:10)
  6. VI. Gentle Emanation − Episode 6 (2:28)
  7. VII. Gentle Emanation − Episode 7 (1:39)
  8. VIII. Gentle Emanation − Episode 8 (1:59)
  9. IX. Gentle Emanation − Episode 9 (1:54)
  10. X. Gentle Emanation − Episode 10 (0:47)
  11. XI. Gentle Emanation − Episode 11 (1:15)
  12. XII. Gentle Emanation − Episode 12 (1:07)
  13. XIII. Gentle Emanation − Episode 13 (1:39)
  14. XIV. Gentle Emanation − Episode 14 (1:51)
  15. XV. Gentle Emanation − Episode 15 (0:33)
  16. XVI. Gentle Emanation − Episode 16 (1:21)
  17. XVII. Gentle Emanation − Episode 17 (1:23)
  18. XVIII. Gentle Emanation − Episode 18 (3:17)
  19. XIX. Gentle Emanation − Episode 19 (0:42)
  20. XX. Gentle Emanation − Episode 20 (0:34)
  21. XXI. Gentle Emanation − Episode 21 (0:29)
  22. XXII. Gentle Emanation − Episode 22 (0:27)
  23. XXIII. Gentle Emanation − Episode 23 (0:31)
  24. XXIV. Gentle Emanation − Episode 24 (0:32)
  25. XXV. Gentle Emanation − Episode 25 (0:40)
  26. XXVI. Gentle Emanation − Episode 26 (2:14)
  27. XXVII. Gentle Emanation − Episode 27 (3:31)
  28. XXVIII. Gentle Emanation − Episode 28 (2:43)
  29. I. Tristia II − Episode 1 (6:49)
  30. II. Tristia II − Episode 2 (3:36)
  31. III. Tristia II − Episode 3 (1:56)
  32. IV. Tristia II − Episode 4 (2:41)
  33. V. Tristia II − Episode 5 (1:48)
  34. VI. Tristia II − Episode 6 (1:03)
  35. VII. Tristia II − Episode 7 (2:08)
  36. VIII. Tristia II − Episode 8 (2:46)
  37. IX. Tristia II − Episode 9 (2:52)
  38. X. Tristia II − Episode 10 (2:07)
  39. XI. Tristia II − Episode 11 (1:51)

Reviews

Fanfare

What does it sound like? Overall, it reminds me of an unlikely synthesis of Scriabin and Berg, and at times it also reminds me a little of film music (Jerry Goldsmith, maybe?) because of the music’s literally episodic structure and micro-structure (a gesture here, a contrasting gesture here, as if a movement were being illustrated). Sometimes we seem to be hearing the soundtrack to an invisible movie.

” —Raymond Tuttle
American Record Guide

The Russian composer writes in a range of styles, from the straightforward and neo­classical to atmospheric and aggressively modern. This stylistic cosmopolitanism is a strength that keeps the music afloat, even through a couple of hours. I must admit that I’d never heard of Artyomov before getting these records, but I certainly find myself wanting to hear more! – George Adams

” —George Adams
Fanfare

This large-scale work—with its huge dynamic range, its bouts of gnarled Bergian harmonies, its vehement percussion outbursts, its anguished strivings, its Messiaenic bird-chattering in the woodwinds, its Schoenbergian flutter-tonguing—is far closer to neo-Expressionism than it is to anything by the so-called New Spiritualists. Tristia II… is shorter, gentler, and more hyp¬notic, a piece that’s apt to whisper as often as Gentle Emanations is to scream. Both works get what sound like committed performances—and the sound is no obstacle.

” —Peter J. Rabinowitz
Pizzicato

“With Currentzis the [Symphony] is interpreted by a conductor who sees Artyomov as the 21st century’s Bruckner. Correspondingly he develops the piece with intensity and effectiveness for its whole duration. The emphasis of this composition {Tristia II] however, is on the piano part, which blends naturally in the orchestral movement. The Russian national orchestra is an established, successful body which devotes itself expertly to Artyomov’s work. With Ponkin and even more so with Currentzis they found conductors, who are able to shape the large forms and create tension which persists. Pianist Kopachevsky mastered the piano part with excellence.”

” —Uwe Krusch
Grego Applegate Edwards

“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’s 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.”

” —Classical Modern Music
The Chronicle

“This is on a macro [scale] , making the listener think of the vastness of space. Both[symphonies] are monumental in ambition, and in sound, making any review a little trite. Both CDs certainly make an impression. The sleeve notes explain some of what’s going on but Vyacheslav Artyomov demands (in all senses of the word) the listener to make an effort. It’s compulsive listening. They’re both out on Divine Art, which lives up to its mission statement (“Innovative, Eclectic, Fascinating, Inspirational”) with these CDs.”

” —Jeremy Condliffe
Pizzicato

“[The Symphony] is a remarkably powerful score that maintains a mood of inexorable mystery, of an almost ethereal luminosity contrasted with tension-filled episodes of menace and anger. [In Tristia II] the Russian National Orchestra excels under baton of Teodor Currentzis, giving a compelling performance that feels well-paced, producing wonderful orchestral textures. Pianist Philip Kopachevsky provides alert playing of real clarity. excellent sound, crystal clear and nicely balanced too.”

” —Norbert Tischer
Gramophone

“Vyacheslav Artyomov is best known for his six cosmic-mystical-syncretic symphonies, which together make up one of the most distinctive continuations to the post-Soviet Russian branch of the genre. Two of those symphonies make welcome appearances here in characterful performances, vividly recorded. There is an unmistakable sense of a journey travelled and of emotional states transfigured into spirit. All the performances here are terrific and Robert Matthew-Walker’s booklet-notes argue at passionate length for Artyomov’s uniqueness and importance.”

” —David Fanning
The Whole Note

“These two symphonies (parts of a tetralogy) are unlike The Planets, unless you think of them as uber-Holst: they cause a visceral reaction and suggest a metaphysical cri de coeur… they embody mystery and the unknown. They are both accessible, and while Artyomov is often compared to Arvo Pärt, I hear a little more of Rautavaara.”

” —Vanessa Wells
The Classical Reviewer

“Vyacheslav Artyomov is a distinctive and important voice in Russian music. These impressive symphonies are like momentous journeys, full of incident and emotion and the most wonderful ideas. The performances are all that you could wish for making these two discs valuable releases.”

” —Bruce Reader
MusicWeb

“The Symphony On the Threshold of a Bright World is in 18 continuous episodes, separately tracked. A surreal and even psychedelic ambience is the order of the day. It is like a Dali dreamscape in constant and meltingly waxy motion. There is some glorious writing. The short Ave, Crux Alba – The Order of Malta Hymn – is sensationally grand and strides – never struts. It makes a huge sound accentuated by a lively acoustic. The sound is good and carries the whispers and grand climactics with satisfying fidelity. There is certainly plenty to intrigue and enthral.”

” —Rob Barnett