Classical

Misha Mishenko - Metanoia (2015)

2018-01-01T15:00:08Z

Misha Mishenko - Metanoia (2015)


1 	Decadance 	5:20
2 	Forest In My Head 	5:33
3 	Oxygen In My Lungs 	6:20
4 	River In My Viens 	3:55
5 	Mountains In My Bones 	5:27
6 	Tundra 	4:59
7 	Entrance To The Rabbit Hole 	3:22
8 	White Ghost 	19:14

Misha Mishenko - Piano
Dasha Fisher - Violin 
Misha Talanov - Violin
Ekaterina Volkomurova - Cello

The Moscow composer Misha Mishenko is enjoying increasing public attention. Mishenko views his own restrained persona against a humbling backdrop: he speaks of constant inspiration from "the [landscape of the] Far North with its boundless valleys, frigid pure streams, and dormant volcanoes..." That final noun takes us away from Russia to the peaks of Iceland, a place often referenced in Mishenko's catalog.

In brief, Mishenko sees the primary appeal of his own material in "a move away from excess and wordiness. I mean movement in the general direction of minimalism. I personally think that art should be simple, genuine, and beautiful." There is, he also believes, a local reason to champion such transitions towards minimalism; Russia's history has been dangerously grand. "What's unique about Russian music? Our classical school is full of anthems and marches. After that [during the Soviet period], half the country was imprisoned and that [awful scale of injustice] became the beginning of Russian 'chanson' [i.e., of criminal songs]."

Mishenko instead finds a quieter, less assuming national spirit elsewhere. "I was sitting in a church on Moscow's Bolshaya Dmitrovka and started thinking how enormous Russia is. I'm Russian myself and I have a Russian outlook on the world, too. Why shouldn't I try and emphasize that same view within global culture?" A profoundly modest philosophy hopes within its minorism to discern bigger, better social principles. The logic of Somnipedie's artwork reappears: smallness is occasionally home to a sweeping imagination. ---farfrommoscow.com

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Misha Mishenko - Neopolyscassa (2019)

2019-11-28T15:42:14Z

Misha Mishenko - Neopolyscassa (2019)


1. And the One (4:51)
2. Who (5:09)
3. Closed (3:12)
4. His Eyes (4:55)
5. Will (3:20)
6. Invariably (3:01)
7. Fall (4:31)
8. Into (3:05)
9. The Abyss (2:53)

Misha Mishenko - composer and main artist

Contemporary composer from Moscow, writing in various genres of film, TV, games. Career began in 2006, and is continued to this day.

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Misha Mishenko - Strákur Sem Spilar Með Vindi (2013)

2018-01-18T10:27:10Z

Misha Mishenko - Strákur Sem Spilar Með Vindi (2013)


1 	Kvöld Í Borginni 	3:28
2 	Fundi Með Vindi 	3:40
3 	Skilningi 	3:42
4 	Móðir Náttúra 	5:55
5 	Á Hliðarlínunni 	2:39
6 	Öndun Fiðrildi 	3:12
7 	Síðast Swan 	2:41
8 	þjóðarmorð 	5:02
9 	þoka Í þér 	3:14
10 	Á þeim Tíma 	3:53

Misha Mishenko - piano

If you’re looking for winter weather that’ll bite your face off, Russia is about as good as it gets. Its proximity to the North Pole and rugged terrain lead to unusually harsh winds and temperatures that rarely rise above zero Celsius—and usually drop far, far below what most people will ever have to deal with. Much like Iceland, though, the country’s frigid climate is a hotbed for musical talent: among the many artists to be found in the cold is neoclassical artist Misha Mishenko, whose latest release, strákur sem spilar með vindi (The Boy Who Plays With The Wind), shows a compelling humanity beneath its chilly climate.

If that approach sounds simple, that’s because it is. The driving force of his music is his sincere, world-weary piano melodies, but he surrounds them with otherworldly instrumentation. Much of strákur sem spilar með vindi is shrouded in a sense of something beyond this world, an intangible element buried somewhere in the foggy ambience hanging over much of the album—yet it’s also still recognizably grounded in something within our reach.

Transcendence rarely comes without effort, though, and Mishenko’s compositions show a creator with a knack for constructing journeys. “fundi með vindi,” Icelandic for “meetings with the wind,” feels like a meeting indeed: the piano has hints of an RPG hero’s theme in its rises and falls, and Mishenko holds back on the instrumentation before bringing accompaniment in the song’s climax, a decision allowing the moment of triumph to feel truly triumphant. There’s something charmingly innocent about the song’s unabashed tendency towards drama, but the melodies are too weighted with melancholy to be naïve, and the unresolved nature of the song’s final ascent lends it a valuable ambiguity. “móðir Náttúra” (“Mother Nature”) has a decidedly more upwards trajectory. It’s a fuse waiting to go off, opening with soft brass and ambient noise while the piano barely seeps in. It’s a straightforward foundation on which Mishenko builds more and more—sweeping string melodies, percussion that churns as if he were excavating it from the depths of the sea, and a marching-band serenade—but the effect feels completely organic despite the way in which it’s constructed.

Despite the emphasis on construction, the sheer sensory joy of the music often proves to be enough. “skilningi” (“Sense”) is an absolute delight, conveying a powerful sense of discovery with its uplifting melodies and rich sound. Wisely, the song avoids the pitfall of cramming in too much: the instrumentation here is sparse, but it’s as textured and soft as a field of grass. As it turns out, the idea that just feeling the blades peek through our toes would be enough is where the song finds its sense of clarity. Even darker escapades are oddly beautiful. “þjóðarmorð” (“Genocide”) may be a march to imminent death, but the strings, the swirls of ambient noise circling the track, the piano chords that chime like church bells, and the choir chants buried deep into the mix lend it a haunting majesty. Just to give Olafur Arnalds a run for his money, Mishenko sneaks in a little experiment at the end of his album: “á þeim tíma” (“At the Time”), which utilizes innovative rhythms and stronger-than-usual instrumentation to reach an anthemic climax.

Ultimately, however, it’s when strákur sem spilar með vindi strips back that it reveals the most. “á hliðarlínunni” (“On the Sidelines”) gets introspective, focusing solely on the piano. Mishenko has an internalized understanding of circadian rhythms which comes out in full force here as the song oscillates wildly from spurts of light to pitch-black corners, a simple but powerful display of the emotional forces pulling at the heart of the album. “öndun fiðrildi” (“Breathing Butterflies”), another piano piece, shows the same tendencies towards contemplation: it’s a little soft-spoken but wonderfully paced, developing its themes in a completely organic fashion. Even when the ethereal grandeur of Mishenko’s music fades, there’s a resonant emotional core to it that proves to be teeming with life. Frankly, the most impressive aspect of strákur sem spilar með vindi may be that sense of vitality most prominent in its quietest moments: Mishenko’s compositions may be layered in frost, but spring is coming and it looks like even beneath the ice, the world was alive and well all along. ---muzikdizcovery.com

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Misha Mishenko ‎– Parallels (2018)

2019-04-29T13:53:52Z

Misha Mishenko ‎– Parallels (2018)


1 	62.0355° N, 129.6755° E 	3:44
2 	69.7000° N, 32.6000° E 	5:32
3 	59.9343° N, 30.3351° E 	3:13
4 	55.7558° N, 37.6173° E 	5:00
5 	56.4907° N, 4.2026° W 	4:31
6 	52.5200° N, 13.4050° E 	3:23
7 	35.7595° N, 5.8340° W 	3:35
8 	41.0082° N, 28.9784° E 	3:00
9 	20.1338° S, 67.4891° W 	15:21

Cello – Katya Volkomurova (Катя Волкомурова)
Cello, Oud – Felix Antipov (Феликс Антипов)
Voice – Alona Minulina (Алёна Минулина), Artemiy Cheers (Артемий Cheers)

Misha Mishenko - contemporary composer from Moscow, writing in various genres of film, TV, games. Career began in 2006, and is continued to this day.

Misha Mishenko is one of Russia’s most active, ambitious and successful young composers. When he was younger, Misha was a part of a pop punk band and composed musical scores for ads and movies. Today, he’s the author of more than ten LPs of music that is generally categorised as “Neoclassical” and a resident of the Russian label Flowers Blossom In The Space, which specialises in contemporary instrumental music.

Mishenko’s delicate melodies evoke the fairy-tale music of Iceland. The young composer has admitted his “Icelandic addiction” on numerous occasions: he got his start in writing instrumental music, impressed by the Sigur Rós band, he had used Icelandic chants in his recordings, and he had shared the stage with the well-known Ólafur Arnalds. ---soundup.world

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