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) "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) "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) "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