last updated 20/03/10



Artem Vassiliev: Konzertique für Oboe, Streicher und Tonband

Westfälische Rundschau, 5.4.2006

Ein hochinteressantes experimentelles Werk, bei dem der Komponist selbst die Einspielungen vornimmt, bei dem Dmitri Bulgakov virtuose Brillanz zeigt und die Sinfonietta Köln beweist, dass sie auch im Bereich der aktuellen Musik zu überzeugen weiß. Ein Werk, das am Samstag mit Recht langen Beifall findet.

Rhein Zeitung, 4.4.2006

... faszinierendes Zusammenspiel verschiedenartiger Klang- und Tonträger ... begeisterte das Publikum auf Schloss Hachenburg.

Münsterland Zeitung, 5.4.2006

Das Werk bestach durch die symbiotische Verbindung mehrerer Komponenten ... Transparenz der Komposition ... detailgenau wiedergegeben.

Publication: The Guardian

Date: 18/01/06

PLG Young Artists

Purcell Room, London

Tim Ashley

Wednesday January 18, 2006

The early concert was given by Russian pianist Elena Vorotko. The main work was Three Etudes, written by her husband Artem Vassiliev. Ostensibly an exploration of the extreme ends of the instrument's range, in actuality it is a set of glamorous virtuoso pieces in the tradition of Rachmaninov and Liszt.


The Times

First Night reviews

June 22, 2005


Brittten Sinfonia/Watkins

John Allison at Christ Church, Spitalfields

… Two composers who were once Soviet citizens completed the programme, with the Estonian Arvo Pärt represented by Cantus in memoriam Benjamin Britten. Building from unearthly opening sonorities to its sombre close, it paved the way for the premiere of a new Spitalfields Festival commission, the Duo concertante by the young Kazakhstan-born composer Artem Vassiliev. Scored for viola (Maxim Rysanov), cello (Kristina Blaumane) and strings, this 15-minute work made a strong impact…

The Guardian

Wednesday June 22, 2005


Britten Sinfonia / Watkins

Christ Church Spitalfields, London

Erica Jeal

The high point of the first half was the premiere of a Duo Concertante by the young London-based Kazakh composer Artem Vassiliev, a work just about as reliant on rhythmic drive as it is possible to be without fitting into the polished sound-world of minimalism.

The aggressive opening section started with a single, angry viola note taken up by the cello and ensemble and turned into a buzzing, trilling mass of energy; this dissolved seamlessly via high, glassy harmonics into a softer episode in which similar material was made to sound almost quirky. Vassiliev's smooth handling of such transitions ensured a constant momentum, and the soloists, violist Maxim Rysanov and cellist Kristina Blaumane, played with passionate commitment; it would be good to hear Rysanov especially in more lyrical repertoire.

The Sunday Times – Culture:

May 29, 2005

Dance: Let’s get physical

David Dougill

…The London Children’s Ballet, directed by Lucille Briance, is recreated each year for a new production at the Peacock Theatre, with a cast of more than 50 dancers aged (mostly) 9 to 14. These performances are always handsomely staged, and last weekend’s, The Canterville Ghost (from Oscar Wilde’s story), had a versatile score by Artem Vassiliev and excellent designs and stage effects.

David Fielding’s choreography carried the plot clearly and wittily, with a 1920s flavour to many of the dances, and ensembles for rooks, Wili-like ghosts and goblins to spread the opportunities for all ages. The standard was admir-able, with many enthusiastic characterisations, led by Sophie Baxter (13) as an accomplished and affecting Virginia and Lee Hoy (14) as a thoroughly engaging Ghost.

Ballet Magazine

June 2005

Graham Watts

London Childrens Ballet

‘The Canterville Ghost’

20th May 2005

London, Peacock Theatre

This year, freelance choreographer, David Fielding was invited to realise the exciting dance potential of ‘The Canterville Ghost’; and the young Russian composer, Artem Vassiliev, was commissioned to create his first ballet score.

Best of all was Vassiliev’s imaginative and expressive score. He has crafted a musical tapestry that interweaves diverse musical styles in an entirely holistic composition, identifying and associating separate melodic interpretations for each main character, including a distinctive contrast for both the tragic and comic aspects of the ghost, and juxtaposing American and British influences as appropriate. His composition integrates perfectly with the narrative in each scene, helping to capture the story’s mood at every point. This musical storytelling reaches a climax during the transitional process between scenes 5 and 6 in the second Act when a search party desperately seeks to find the missing Virginia, who has gone into the underworld to free the ghost from his curse.


The Strad

July 2002 (p. 763)

Reviews concerts

Maxim Rysanov (viola), Marko Martin (piano), Wigmore Hall, London 8 April 2002


…The best playing came at the start of the second half. Rysanov put his heart and soul into the world premiere performance of In a Golden Cage by Artem Vassiliev, who was present. I could not discern how the composer applied all his numerical calculations to his opus but it worked up to impressive outbursts and was well received.