dda 25144
 
   
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VYACHESLAV ARTYOMOV:
GENTLE EMANATION (SYMPHONY); TRISTIA II

RUSSIAN NATIONAL ORCHESTRA
conducted by VLADIMIR PONKIN / TEODOR CURRENTZIS

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 whch 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)

 

CD DURATION: 71:25

AUDIO SAMPLE: Gentle Emanation (extract from Episode 8)




dealer release date: November 18, 2016
BUY IN THE UK:

£12.00


BUY IN THE USA:

$15.99


DIGITAL DOWNLOAD:

itunes link


CD program:
Symphony - 'Gentle Emanation'
(conducted by T. Currentzis)
Tristia II
(conducted by Vladimir Ponkin)
Philip Kopachevsky (piano)
Mikhail Phillipov (reader)

review extracts: for full reviews click here

“Impressively annotated, impeccably produced, neatly packaged.. The music in both these CD's and the composer deserve wider exposure outside Russia. Artyomov's music is mystical, Russian at the core. He is a master of orchestral writing and of unusual instrumentation. Many of his melodies have their roots in old Slavonic chant. A most unusual talent whose day has yet to come insofar as the American concert-going audience is concerned.” - Rafael de Acha (Rafael Music Notes) - joint review with dda 25143

“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 (The Classical Reviewer)
“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 (Gramophone) – joint review with dda 25143

“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.” – Grego Edwards (Gapplegate Classical Modern Music)

“[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.” – Michael Cookson (MusicWeb)

“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 Whole Note) – joint review with dda 25143

“Gentle Emanation is in 28 continuous episodes and three sections. The music flickers and pounds like a huge metal stamping machine. There's more than a touch of Messiaen's wildness about this and those shivering Scriabinisms, already commented on in the symphony On the Threshold of a Bright World , are also present. Tristia II was written to mark the sixtieth birthday of Vladimir Ashkenazy. It's highly unconventional and the first and last tracks incorporate Nikolai Gogol's supplicatory prayer to some angel-custodian, here voiced at quarters close and warm by Mikhail Philippov. Very knowledgeable notes.” – Rob Barnett (MusicWeb)

“ With Currentzis the [Symphony] is interpreted by a conductor who sees Artyomov as the 21 st 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.” (awarded 5 stars) - Uwe Krusch (Pizzicato)

“This on a macro [scale] , it 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 (The Chronicle) – joint review with dda 25143

“ 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 hyp­notic, 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 (Fanfare )