Reviews

Artyomov’s symphony is a slowly swirling cloud of sound..’Awakening’ is a remarkably intimate and haunting work… all three works evoke a mystical sonic realm only attainable through Artyomov’s creative imagination.

While the forces may vary, there’s a consistency throughout all these works. Artyomov’s deeply spiritual philosophy imbues every composition. The music alternates between suspended time and bursts of activity. Harmonies are post-tonal, yet not atonal. If you’re looking for an introduction to Artymov’s music, this is a good place to start.

There’s only one way to fully appreciate the genius of Vyacheslav Artyomov. You have to listen to everything he’s written. This is volume three of Divine Art’s series. Collect them all.

How to describe the music of Vyacheslav Artyomov? Imagine combining the structures of Arvo Pärt, the ethereal sound clouds of Kaija Saariaho, the intensity of György Ligeti, and the deep spirituality of John Tavener. Artyomov has a unique compositional voice that, while sharing elements with the afore-named composers, communicates in a musical language that’s all his own. The Russian National Orchestra plays cleanly and precisely — two essentials for the impact of Artyomov’s music to be fully realized.

Nice music played well… quite lively in a laid-back sort of way.

There’s something pleasingly ethereal about [the Jongen]… The Dove sparkles. [The Liszt] is orchestral and theatrical in sound, and played tightly.

Rowland plays 12 suites with all repeats. The unspecified mild temperament sounds like Vallotti’s. It fits the geniality of Rowland’s interpretation. It makes a favourable impression overall. When he finishes the series it should be a reliable reference set.

The music is flowing and melodic….The results are always attractively appealing with some imaginative touches to the orchestration.

This is an excellent disc… subtle and arresting, mesmeric in tone, and featuring accomplished and committed performances throughout. It showcases works for strings by two acclaimed Iranian composers, and is performed with beauty, character and precision.

The playing of French cellist Marie Ythier evidences utter comfort with the technical challenges of Murail’s serialism. The young cellist has an uncanny way of switching musical gears in order to inhabit the Ur-Romantic world of Robert Schumann and the contemporary sounds of Murail. Her technique is flawless, her interpretive gifts non-pareil, and her partners, pianist Marie Vermeulin and flautist Samuel Bricault are faultless associates in the ensemble’s chameleonic transitions from Schumann to Murail and on to Murail’s re-conceived Schumann-Murail conflation of Kinderszenen.

The passion for this music is evident in the performances of the sonata and duet.

Buckley’s writing is skilfully crafted. Chromaticism plays an important part in these settings which he uses creatively. Orla Flanagan’s Mornington Singers are an exceptional group of finely trained musicians, and their interpretation of the music is outstandingBuckley’s writing is skilfully crafted. Chromaticism plays an important part in these settings which he uses creatively. Orla Flanagan’s Mornington Singers are an exceptional group of finely trained musicians, and their interpretation of the music is outstanding.

Refracted Resonance by Sam Cave is a daring and beautiful exploration of new soundscapes on the modern guitar. From intimate and spacious mediations to virtuosic contrasts, Cave creates new worlds of sound in focused and thoughtful performances of new music and pinnacle modern works.

Loges delivers a musically rich performance highlighted by flawless diction, impeccable musicianship, elegant vocalism, and pliant idiomatic musicality, greatly helped by his superbly capable partner, Alexander Schmalcz. Loge’s pliant and burnished voice is eminently suited to this repertory. That sort of vocal sound coupled to the pianistic brilliance of Schmalcz is all this listener asks for and this CD delivers from start to finish.

This album of gentle piano music has a definite meditative quality to it. The music of Bach played by a top pianist who has spent years thinking about how to play — if you want calm and measured music, there’s not much could beat this.

The Ives songs are magical, illuminated by Kerrigan’s interaction with the text. The discographical value here is concentrated on the Cowell songs. The sheer variety of expression held within the 29 songs on this disc is huge. Kerrigan’s brilliant coupling has its own value, offering its own unique experience. Recorded well and with excellent documentation, it comes highly recommended.

The great British song tradition is encapsulated here. Mark Rowlinson is a superb baritone, his voice honeyed and lyrical; Peter Lawson is a superb accompanist, and the whole is beautifully recorded. In short, this is a lovely collection of songs.

John Buckley’s music resists classification in a single “school” or “ism.” This makes for a pleasantly diverse listening experience. Buckley could not wish for better advocates of his music, which shines under Flanagan’s deft direction. These performances and the music itself are worth the attention of listeners looking for fine modem choral music.

[The organ] is a magnificent instrument sonically. Beautifully produced and recorded, with more than ample booklet notes by the composer him¬self, the celebration of the art of Carson Cooman continues.

The soloists on the CD are somewhat familiar in the West and they do not disappoint. The orchestral playing is very good too. I don’t think anyone will complain about the performances, as long as they can accept the fact that these works take an emotional toll. Artyomov is a gifted composer and I am glad that Divine Art has decided to reissue (now) eight CDs of his music.