Ukrainian Composer Anastasia Sysenko: Music Is First And Foremost About Energy, Not Technique Or Form

Anastasiia Sysenko is a Ukrainian composer, the author of Hana no Rei and a co-author of Mine in collaboration with Alisa Balaieva. For Anastasiia, music is прежде за все energy rather than its technical side — notes or instruments.

This year, she gave her first solo concert at the Solomiya Krushelnytska Museum, where she performed both original compositions set to the poetry of prominent Ukrainian writers and experimental works, including A-ff-air.

In this interview, Anastasiia opens up with Drive Music Media her experience of her first authorial concert and the meanings embedded in her new works.

Interviewer: Since our previous interview, you held a solo concert at the Solomiya Krushelnytska Museum. Could you tell us about the preparation process for this concert — which compositions were included and what the overall concept of the event was?

Anastasiia: So, at the end of 2025, my first authorial concert took place. How did I even come to this? It was definitely not an act of self-admiration or the ambition of a conservatory graduate — art simply cannot be born from such motives. Everything was much more human, more joyful, and a little chaotic.

It all started when, at some point during a concert, I suggested to a musician that she perform my piano trio. She began offering different options, and eventually the idea that truly resonated with me was to perform the piece at the Solomiya Krushelnytska Museum in Lviv. Not just to perform it, but to create an entire concert dedicated to my music.

The idea of an authorial concert had actually been maturing in me for several years, but because of the war it was constantly postponed. This time, however, I felt ready. The programme came together very quickly, and the musicians were found just as fast. Interestingly, the concept remained exactly as I had envisioned it back then: love and war. It is about me — about a person living in Ukraine at this time, experiencing these events, while simultaneously dreaming, loving, and fighting for her own happiness. Musicologist Svitlana Chobaniuk, who wrote a review of the concert, very precisely described it as an “autoportrait.”

That said, the organisational process turned out to be far more complicated than it initially seemed. Over several months, I changed both the programme and the performers multiple times. But in the end, everything happened exactly the way I wanted it to, and I am truly happy about that.

Interviewer: Which of your newly written works holds the most special meaning for you? Why does this particular piece stand out?

Anastasiia: Among my new works, Hana no Rei (“The Legend of the Flower”) holds a particularly special place for me. To explain why, I need to go back about ten years into the past.

At that time, my psychologist and I came up with a very accurate allegory. She asked me to draw a flower, or myself as a flower, and after looking at my drawing, she said something like: “You are a fragile flower with a strong core.” I believe this metaphor truly suits me. Judging by my outward delicacy, it is easy to assume that I am a sheltered person who knows little about life — but that is not the case.

This is exactly the inner theme I returned to in this piece. I single it out, first of all, because it is based on a deeply personal story that I have never been able to recount without tears. The truth is, I cannot tell the whole story — all the details and all the reasons. That is why I even invented a quasi-Japanese legend, which can be found on my pages. But if we set allegory aside and speak in terms of facts, it is a story about a deep scar left by men in my life.

This is why the piece includes a middle section that sounds wild to me — almost witch-like. For me, it is an energetic process of liberation from a very heavy burden. I put an enormous amount of energy into this music, because for me, music is first and foremost energy, not technique or form. I understand that not everyone shares this perception, but for me, this is precisely the essence of the piece.

Interviewer: How challenging is it to organize concerts during the full-scale war waged by Russia against Ukraine? What should those who are only beginning to organize concerts pay special attention to?

Anastasiia: The first concerns the relevance of concerts during wartime. My answer is unequivocal: yes, yes, and yes again. Moreover, I believe it is especially appropriate to organise concerts specifically for military personnel. However, there is a very important nuance — the programme. Music at such events should be as relaxing as possible, relieving tension, tuning listeners toward light, warm images, toward something beautiful. This is not about drama or emotional strain, but about inner respite — something that is needed now more than ever.

The second layer is the practical side of organisation, especially when it comes to an authorial concert. In my opinion, the first question one should ask oneself is whether you truly need this and whether you are ready to go all the way. During wartime, circumstances can become absolutely unpredictable, and one must be mentally prepared for that.

The more people involved in a project, the higher the risk that someone may withdraw at the very last moment without offering a replacement. I had a situation where, just a few days before the concert, a pianist fell ill with complications. It concerned a piece that required very serious preparation — she had been rehearsing with her ensemble for several months. Illness is not something anyone can or should be blamed for, but for a composer, such a development is still a blow. Ideally, I would have simply gone on stage and played the part myself, but I have not performed publicly as a pianist for over fifteen years, so this was unrealistic for me. Fortunately, I managed to find someone who learned the complex piece literally in a matter of days, which saved the situation.

That is why my advice may sound a bit harsh, but I consider it honest: always have a backup plan. People you can negotiate with almost anything, who can step in at a critical moment. This is not about casting or having first and second line-ups, but about understanding that it is wise to have either backup performers or alternative pieces.

I would also like to separately mention technical aspects. Since almost the entire organisation was on me, and my idea was not only to perform the programme but also to make high-quality recordings, the technical side also fell on my shoulders. My mistake was that I did not prepare these details thoroughly enough in advance. I did not set up the frame properly, did not take care of spare batteries or tripods, and ended up running all over Lviv searching for the necessary equipment. Once again, good acquaintances came to the rescue, but this experience stayed with me.

Finally, I would say that organising such events is much easier not alone, but at least with a small team. In my case, my partner was the very person I approached at the very beginning — the one who originally suggested the idea of the concert. She helped me find musicians and supported me throughout the entire organisational process, which meant a great deal.

Interviewer: Could you tell us about your collaboration with Alisa Balaieva? What inspired you to work together?

Anastasiia: Alisa Balaieva and I met in a Telegram group called “Pyrizhky of Safe Intimacy.” The group was originally created by the well-known Ukrainian psychotherapist Yevheniia Striletska, but for certain reasons it later dissolved. People who felt connected to that psychotherapeutic space decided to create their own community, and that is where Alisa and I crossed paths.

One day, Alisa wrote in the artists’ thread asking whether there were any composers interested in a collaborative project. I responded. When she explained the idea in more detail, I became even more inspired. I was genuinely interested in trying myself in a new role — that of an arranger. I have always gravitated toward song form, as my music is inherently melodic. This is not a mandatory trait in contemporary academic music, but it is how I think and feel sound.

It also coincided perfectly with the fact that I had recently discovered another direction for myself — creating “producer-style” music in computer programs. In that space, you are the author not only of harmony or melody, but of the very nature of sound itself. Of course, acoustic instruments in a live space offer an enormous range of nuances, but even a simple violin, cello, or piano can be given a completely different colour in a digital environment, influencing how sound is born. Since I am still a beginner in this field, I crave practice, and this project became an additional motivation to move in that direction. In the future, I truly want to create more music like this.

 Songwriting, for me, is a space where I can open my soul. I do not consider myself some brilliant poet-lyricist, and to be honest, I simply have not written that many poems yet — so who knows. But writing one’s own songs is incredible. I have something to say, as I am a very sensitive person with dominant emotionality and intuition. A lot has happened in my life that could become a song and ignite small lights in other people’s hearts. That is why I feel I am moving in the right direction.

In this collaboration, Alisa is responsible for the lyrics and melody — she writes the poetry, and the vocal line belongs to her. I created the instrumental part, which, in my opinion, highlighted the song and gave it additional depth.

Beyond the professional side, I felt a certain kinship of souls with Alisa. Not only because we share an interest in psychology and music, but something deeper — perhaps a romantic and emotionally sensitive outlook on life. At the same time, we are very different as individuals, and that is precisely what I find valuable. We complement one another with our unique qualities, reactions, and quirks, and from this emerges a living, genuine collaboration.

Interviewer: Tell us about your composition “Fantasy.” What is it about?

Anastasiia: Fantasy for organ was written several years ago. Its emergence began with a very spontaneous process — improvisation. It was not a pre-planned piece with a clear concept, but rather an inner flow that gradually shaped itself into a finished composition.

Later, listeners on music platforms began asking whether this Fantasy was connected to Christian ideas — whether the title implied that everything was merely fantasy. These questions arose partly because of the visuals on my YouTube channel, which contain quite obvious references: many shots of churches and cathedrals, both inside and out. I should note that those comments are no longer there — I usually remove such things immediately.

In essence, I am a Christian, and my message was the complete opposite. For me, where God exists, there is always miracle. People are often biased, and it is precisely this bias that prevents them from seeing the miracle, the fantasy that is actually right beside them. At the same time, I do not want to artificially overcomplicate things. In the Baroque era, there was a tradition of writing fantasies for organ — a fairly free form. As a composer with conservatory training, I am well aware of this practice and consciously, with great pleasure, continue it. For me, this piece is an organic combination of improvisational freedom, historical tradition, and my personal worldview.

 Interviewer: What projects are you currently working on?

Anastasiia: At the moment, I have more than ten projects “hanging” simultaneously. I constantly balance between them, work, and rest. There is nothing secret in my plans, so I will share them openly.

First of all, I truly enjoyed writing songs, and I definitely plan to continue in this direction — both in collaboration with familiar singers and with openness to new partnerships. I am also very interested in collaborations with poets. Some artist friends have already shared their poetry with me, and I would genuinely love to write music to texts that resonate with me on an inner level.

Another important collaboration emerged after my authorial concert, and again, it requires a bit of backstory. I began my musical journey as a pianist, and the piano remains the closest instrument to me. Sometimes I even miss that period and the state of being actively on stage. After the concert, I felt a surge of inspiration to return to the idea of a piano album — the very one conceived about a year and a half ago. This is not just about writing music, but a full-scale project: creating an album, presenting it in a concert format, and recording it in a studio. I truly hope this will come to life.

This year, several musician friends also approached me with requests to write solo pieces specifically for their instruments. I always gladly join such projects, as solo works have clear advantages. For example, finding and organising one performer is much easier than assembling an entire ensemble. Additionally, solo works involve different technical and artistic challenges, which I find very interesting. Since the past year essentially became my “year of solo premieres,” I would like to stay in this state a bit longer and develop it further.

Interviewer: As a Ukrainian composer and artist in a broader sense, is there any type of project you would never agree to work on? Why?

Anastasiia: This is a very interesting question. It so happened that I partially answered it unexpectedly in one of my Facebook posts. At the time, I was not thinking about an interview — I was reflecting on my own experience. Still, I feel it is worth articulating this thought more clearly here.

I withdraw from projects at the moment when someone begins imposing a vision of how I should create music. There is a line beyond which I can simply be lost as a partner, even if all previous conditions seemed acceptable. I am absolutely fine with someone choosing the theme — thematic concerts, specific projects, festivals, or events exist for that reason. I also accept the choice of performers without objection. These are part of the framework within which I can work calmly and professionally.

I am also open to conceptual ideas from a commissioner, for example: “this folk melody in the choir could be an allegory of the strength of the Ukrainian people.” I perceive such guidelines as dialogue. But I categorically reject interference in the creative “kitchen” — in the choice of specific artistic decisions. Comments like “I need a different musical form here” are a red line for me. In such cases, I will honestly say: I’m sorry, but you need another artist. Because it is precisely in these decisions that my responsibility, freedom, and professionalism as a composer reside.

 Interviewer: Could you tell us about a composition that will never be released, if you have one? Why will it remain unreleased?

Anastasiia: At first, I honestly found this question surprising. Why should I hide any of my music, except in obvious cases when a piece is still raw? I am not inclined to write “for the drawer”; I believe music should live. But then I remembered an important reality in which we all live today as Ukrainians, and the answer came naturally.

Yes, I have works that will most likely never be released. These are romances set to poems in russian. I do not consider it possible to present them today. The reasons, I think, are more than clear and do not require further explanation. This is my conscious choice, aligned with my inner position.

 Interviewer: From your personal experience, what trends do you see in the development of contemporary compositional practice in today’s Ukrainian reality?

Anastasiia: My answer to this question today is very different from what it would have been two years ago — and importantly, it has changed for the better. There will be no complaints here about how hard it is to “break into the top” or how complicated everything is. For me now, it looks almost exactly the opposite.

The greatest value of contemporary reality, in my view, is freedom and opportunities for development. Missed an open call? You can create your own project, involve friends, record your music on video, publish it on your channel, premiere it, and even interview yourself. For me, this is an extremely important trend, because it truly gives everyone the chance to express themselves without waiting for permission from above.

There are other steps that are genuinely accessible today — for example, grants for artists. They are structured so that no one can receive them year after year. Instead, everyone has a chance, including those who may still be a bit further from this goal. Accessibility of knowledge is another important point, though this is hardly a revelation. Today, one can study using the vast amount of material available online — mostly free. Essentially, the only things you pay for are internet access and your own time.

Another crucial trend is the multi-directionality of styles, approaches, and practices in contemporary composition. Artists constantly prove by example that there are no “uncool” niches — only niches where no one has broken through yet. And this opens an enormous field for experimentation and honest self-expression.

 Interviewer: Have there been any changes in your mission as a musician? If so, what are they?

Anastasiia: Perhaps it would be more accurate to say that my mission has not changed as much as my view of creativity and my approach to music as a whole. This is directly connected to profound inner work I went through in 2025.

Now, I perceive creativity simply as creativity — as play — rather than as a way to prove something to others or convince the world that I am not as “bad” as I once believed myself to be. Because of this, a great deal of energy has been released in me. I began writing much faster and more easily, without constant inner tension. I also stopped taking everything so seriously — and surprisingly, this has been beneficial.

Excessive worry, total control, and endless cycles of doubt are an enormous waste of energy that give nothing positive to the creative process. I no longer see music as a tool meant to educate or morally elevate someone. That is the role of parents, educators, psychologists. I see music as something that owes nothing to anyone. Humanity already has many things capable of soothing, comforting, bringing joy, or simply offering rest — and everyone is free to choose what resonates with them.

I simply want to make music, because music lives in me. I feel the world in notes, and I want to share that with others.

Pictures were provided by Anastasiia Sysenko