Meet Myroslav Volynskyi*, a talented Ukrainian composer and member of the National Union of Composers of Ukraine. He has made a significant impact on the contemporary classical music world and is highly regarded as an Honored Artist of Ukraine. Volynskyi has had a successful career as a composition teacher at the well-respected Solomiya Krushelnytska Lviv State Music Lyceum, where he has influenced many aspiring musicians. He is also dedicated to preserving and promoting the works of Ukrainian composers through editing and publishing their music. Although now retired, Myroslav Volynskyi continues to compose captivating music, drawing inspiration from his rich life experiences.
*Note to readers: The musician’s name is Мирослав Волинський in his native Ukrainian language. There are two Latin transliterations of his name: Myroslav Volynskyi and Myroslaw Wolynskij. In this interview, we use “Myroslav Volynskyi” to avoid confusion.
Interviewer: Do you have any particular memories or experiences associated with Ivano-Frankivsk, where you spent your early years?
Myroslav: Of course, Ivano-Frankivsk holds a special place in my heart as the city where I spent my childhood and youth. I lived there for the first 25 years of my life, and it has given me some of the most cherished memories. Despite not being very large, it is an incredibly convenient and comfortable city to live in. Its breathtaking nature, including close proximity to the Carpathian Mountains and the presence of rivers and forests, has consistently served as a great source of inspiration for me. It was in Ivano-Frankivsk that I began my musical journey, and where the premieres of my initial compositions took place.
Interviewer: How did you make the decision to pursue a musical education? What were your motivations?
Myroslav: I began composing my first musical pieces while studying at music school. I continued to create them during my time at Ivano-Frankivsk Pedagogical Institute (now University). However, I knew their limitations and felt a lack of musical education. Back then, Ivano-Frankivsk had no opera theater or symphony orchestra. I was particularly drawn to larger works like symphonic and operatic music. To create them, one needs extensive knowledge. Consequently, I chose to further my education at Lviv State Conservatory (now Lviv National Music Academy) in the composition department.
Interviewer: What was important to you during your composition studies at the Lviv State Conservatory? Which lessons or philosophies from your teachers had the greatest influence on you?
Myroslav: During my composition studies at the Lviv State Conservatory, I focused on mastering the fundamental musical subjects such as musical structure, harmony, counterpoint, instrumentation, and contemporary compositional techniques. However, I believe that simply mastering these subjects does not automatically make one a composer.
I realized that compositional creativity is not just about acquired knowledge, but also about the personal character and breadth of understanding of the author. My professor, Anatoliy Kos-Anatolskiy, helped me to grasp this concept.
In our classes, we explored not just music but also philosophy, psychology, literature, and visual arts. After all, music is more than a mere collection of sounds; it encapsulates thoughts, dreams, emotions, feelings, experiences, and philosophical perspectives that a composer seeks to communicate with their audience. The broader the composer’s knowledge and comprehension of various disciplines, as well as the depth of their personal experiences, the more effectively they can convey their message to the listeners.
Interviewer: Tell us about your experience performing at competitions and festivals. Which ones were particularly significant or memorable for you?
Myroslav: My experience in music competitions has been limited, as I didn’t have many chances to participate in them during my early years. Access to music festivals and competitions, particularly those on an international scale, was scarce. Additionally, information regarding such events was hard to come by. Today, the situation has improved, and information about competitions is more widely accessible. However, most of these contests are geared towards young composers under the age of 35. Nevertheless, I consistently participate in music festivals within Ukraine. Some noteworthy events include ‘Kyiv Musicfest’, ‘Zlatoverkhy Kyiv’, ‘Christmas Festival: Grand Kolyada’, and the opera festival ‘Opera in Miniature’.
Among the events that left the most significant impressions on me are: The Fourth Ukrainian International Music Festival ’Kiev Musicfest’ in 1993, at which my cantata “Нам ще жити…” (‘We Still Have to Live…’) was recognized as one of the top six best scores addressing the theme of the Chernobyl tragedy. Another memorable festival was Opera in Miniature Festival in 2017, where the premiere of my opera “Лісова пісня” (‘Forest Song’) took place. Furthermore, it is important to mention the music festival ‘For a United European Ukraine’ in 2015, during which the premiere of my concerto for oboe and orchestra was presented.
Interviewer: Which of your notable official recognitions, such as awards, nominations, or publications, hold special significance to you personally? What are your plans and ambitions in this field?
Myroslav: Although I hold the official title of Honored Artist of Ukraine, I believe that the ultimate accolade for any composer is when their music is cherished by people, when musicians perform it with enthusiasm, and when the audience eagerly anticipates new compositions. I don’t harbor any specific ambitions within this realm.
Interviewer: How do you adapt your teaching methods to meet the unique needs and goals of the talented student composers at Lviv Secondary Special Music Boarding School?
Myroslav: While teaching composition at the Lviv Secondary Special Music School-Boarding School (now a lyceum), I strived to follow the teaching methodology of my professor, Anatoly Kos-Anatolsky. My primary goal was to present complex subjects like harmony and counterpoint in an easily understandable way, ensuring that even younger students could grasp and absorb the material. In addition, I aimed to encourage the growth of well-rounded individuals who would not only be passionate about music but also have an expanded worldview and a desire to explore various fields within art, science, and literature.
Interviewer: What draws you towards monumental genres like opera, oratorio, and symphonic music in your work?
Myroslav: To me, opera is first and foremost a human-centric art form. It allows for the portrayal of various human characters and the depiction of people in diverse life situations. When creating an opera, a composer experiences a part of their life alongside the characters within the piece, forming friendships or rivalries. The composer shares in their joys and tragedies. Opera also serves as a platform for expressing one’s attitude towards specific positive or negative actions of an individual. Symphonic music can be regarded as an opera without words; it has its own themes and characters. These characters are created, live, and evolve
under the impact of multiple life influences. A composer may or may not have control over these processes. To create a symphony, as Gustav Mahler once said, is to build a world using musical means. Oratorios can also be considered operas without stage action. Within oratorios, there are soloist characters, choir, orchestra, and the dramatic development of storylines. When composing my oratorios, I subconsciously employed operatic techniques. This is why two of my oratorios ultimately made their way to the stage.
Interviewer: How would you describe your creative process? How do you find inspiration for creating new music?
Myroslav: I can’t precisely pinpoint how the process occurs, as I believe it varies each time. Sometimes, I consciously ponder a specific musical concept, while at other times, musical themes emerge unexpectedly and not always in ideal locations: by the river, in the forest, or even in dreams. Of course, the musical material is then meticulously developed, with any unnecessary elements removed or new additions introduced. Thoughts and inspiration seem to find me on their own. I have hardly ever experienced a period in my life when I didn’t know what to compose next. Occasionally, multiple compositions come to mind at once. In such instances, while working on one piece, I continuously keep the others in my memory.
Interviewer: What specific areas or aspects are you currently dedicating your creative efforts to?
Myroslav: Nowadays, times are challenging, and opportunities to compose large works are scarce, so I am entirely focused on chamber music. I continue to maintain an interest in human psychology and their inner world. Even in small musical forms, I persist in applying principles of operatic dramaturgy by presenting the musical material in a dynamic and evolving manner. The characters in my works, particularly the vocal ones, often undergo a significant episode in their lives within a relatively brief period. As such, even an art song transforms into a miniature opera. If given the chance, I would gladly take on a larger project, such as an opera or a symphonic composition.
I am always open to creative collaboration and would be thrilled to participate in joint projects. My main interest lies in promoting Ukrainian music globally, especially when it comes to opera. I would be overjoyed if a foreign theatre showed interest in my operas and considered producing them. As I believe the literary text plays a crucial role in opera, I would like to have the text translated into the language of the country where it would be performed. This would significantly enhance the audience’s understanding of the opera. Thankfully, some of my works have already been translated. For example, the text of my opera “Obsession” is available in German, while the text for “Forest Song” is in Polish, German, and English.
