Ukrainian Composer Eugen Sedkó: Each of My Compositions Feels Like a Journey Into Another Reality

Eugen Sedko is a Ukrainian composer and musician in the flamenco genre, as well as a laureate of the "Spanish Melodies" and "CompoGuitar" composition competitions, is certain that his musical journey began long before he picked up a guitar, as fully formed compositions were already playing in his head. Now, he is working on new guitar and mandolin arrangements and continues to organize his own concerts in Kyiv. Eugen shared his thoughts with Drive Music Media on the beginning of his musical path, continuing his career during russia’s full-scale war against Ukraine, and the process of composing music.

Interviewer: How and when did your musical career begin? Why did you choose the path of a composer and multi-instrumentalist?

Eugen: I believe my musical career began even before I picked up a guitar because music was already playing in my head. Before I even started learning, I knew exactly what I wanted to achieve once I could play well. As a child, I could easily pick out melodies by ear, which put me on the path of a musician, even if I wasn’t aware of it yet. My stage career started during my student years as a natural continuation of my musical education. I became a composer because, from the very beginning, I was interested in creating my own music. Many musicians focus on performing but have no interest in composing – however, I always had that drive. Inspiration pushes me to create, and my motivation works through that. That’s why, in my self-study, I always analyzed music carefully, as my knowledge would later help me create better music than I can now. Composition is a way to express emotions and capture moments of life.

As for being a multi-instrumentalist, I never consciously chose that path – it just happened. Once I learned to play several instruments, I gained that title. A lot of music that interests me isn’t guitar-based; a guitar can’t always provide the necessary attack, timbre, or sustain. Every instrument has unique characteristics that are essential in certain styles. Playing percussion, for example, allows me to experience the world of rhythm, which is incredibly fascinating.

Interviewer: Why did you choose flamenco as your style? What makes it special to you? What distinguishes it from other genres?

Eugen: Flamenco combines European, Romani, and Eastern melodies, which all intrigue me, so I couldn’t ignore this genre. My first exposure was through the music of Gipsy Kings. Even though they play pop music with flamenco elements, their sound sparked my interest in the guitar. The expressive techniques used in flamenco resonate deeply with me, and I enjoy incorporating them into my own music. Many describe flamenco as passionate and emotional to attract audiences, but to me, it’s more than that – it’s like an entire world with its own rules that I find captivating. I feel comfortable living in that world, at least mentally.

Interviewer: A major part of your life is composing. Where do you draw inspiration for your compositions? What is your approach to creating new music?

Eugen: Inspiration is unpredictable – it’s like a guest that arrives when it pleases. However, much like how wizards summon spirits in stories, inspiration can be called upon through hard work on a piece of music.

The legendary guitarist Paco de Lucía, whose work is a source of knowledge for me, said he never relied on inspiration but instead on hard work, through which inspiration would come naturally. I don’t force myself to create new music – I only do so when an emotional impulse drives me. That said, my career also heavily involves arranging well-known pieces. These arrangements, especially of popular compositions, tend to gain many views, as listeners enjoy hearing familiar music in a new way. While composition is something I do primarily for my own fulfillment, the experience of writing music allows me to approach arrangements creatively, which even my fellow musicians appreciate – a fact that I find very rewarding.

Interviewer: Which of your compositions is the most special to you, and why?

Eugen: Each of my compositions has its own story, reflecting a certain moment, period, or place in my life. One example is "Palacio de Cristal", dedicated to the Crystal Palace in Madrid’s Buen Retiro Park. I initially wrote it as a small guitar piece but later expanded it into a full composition. It follows a classical style, though my identity as a flamenco guitarist is subtly woven into it.

Interviewer: At the end of 2024, you participated in the Brazilian Mood concert by the Jazz Kolo project. Tell us about your experience. How did you prepare for the performance?

Eugen: Brazilian Mood was one of the most interesting concert projects I’ve participated in over the past few years, and I’m grateful to the organizers for the opportunity. It was a real challenge – when preparing for rehearsals, I worried about getting lost in the complex chords that changed rapidly. Step by step, I figured out the nuances, which were unlike anything I had previously encountered in my musical work. I played music I had never attempted before. Although I had some Brazilian music in my repertoire, fast samba with intricate jazz harmonies was a completely new experience. I really enjoyed it, and the knowledge I gained made me a more skilled musician than I was before.

Interviewer: What advice would you give to beginner mandolin players?

Eugen: The mandolin is not well-known in Ukraine, but it has a rich tradition worldwide. There are various styles where it plays a central role, along with different types of mandolins and related instruments. Even Antonio Vivaldi composed concertos for the mandolin. For beginners, I’d recommend starting with Italian tarantellas and Irish music while also exploring Corsican mandolin compositions – especially the works of one of my favorite modern mandolinists and composers, Ange Lanzalavi.

Interviewer: How difficult is it to continue your career during russia’s full-scale war against Ukraine? What challenges have you faced, and how do you overcome them?

Eugen: Since I am a professional musician and guitar teacher, I continue doing what I know best. As a performer and arranger, I take part in concerts, work as a session guitarist, and create custom guitar arrangements. I also continue teaching, mostly online. There aren’t many concerts, but they do happen, and they are meaningful. I’m grateful that I can still focus on artistic work, thanks to the Ukrainian army.

Interviewer: What projects are you currently working on?

Eugen: Besides collaborating on projects with my colleagues, I am expanding my solo repertoire for guitar and mandolin, creating new arrangements for various instruments. Occasionally, I organize my own concerts at the wonderful 32Jazz club in Kyiv, where I invite musicians I enjoy working with.

Interviewer: What is your mission as a musician and composer? Why do you see it that way?

Eugen: In Breaking Bad, Walter White often claimed he was working for his family, but in the end, he admitted he did it for himself because he enjoyed it and was good at it. Unlike him, I have no moral dilemmas – I simply do what I love, and my work harms no one. I don’t burden myself with illusions of a grand mission. I am a musician because I have a talent for it, I compose because it interests me, and despite the instability of this profession, it’s the best option for me. If I had to define my mission, I would say, in a very Ukrainian way: "For people, as for myself". I offer my audience the best of what I have because I don’t want to be the only consumer of my creative work.

Interviewer: What word best describes your music? Why?

Eugen: Journey. Each of my compositions feels like a journey into a different space or place, like an anchor dropped somewhere in a sea of emotions and half-imaginary worlds.

Pictures were taken by Natalia Soyko, Yulia Oprya and Dmitry Bludov