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) "(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) "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) "(Requiem) It is world's apart from the Mozart and Fauré requiems for example, and instead has