Ukrainian composer, art critic, teacher, member of the National Union of Composers of Ukraine.
He was born in Tulchyn, Vinnytsia region. He received his primary musical education at the children's music schools in Leninakan (now Gyumri, Armenia) and Kirovabad (now Ganja, Azerbaijan).
After graduating from the Mykola Lysenko Kyiv Secondary Specialized Music School in 1988 with a degree in music theory, he studied as a composer at the P. Tchaikovsky Kyiv State Conservatory (1988-1993) in the class of Prof. Yuriy Ishchenko.
In 1997, he completed his postgraduate studies at the Tchaikovsky National Music Academy. In 2003, he defended his dissertation "The Status of Being Time in Music" (supervised by Prof. V. Moskalenko) and received the degree of Candidate of Arts. She works as a lecturer at the Tchaikovsky National Music Academy of Ukraine and the Glière Institute of Music.
His work is dominated by chamber music. His work is characterized by searches in different styles and techniques inherent not only in Ukrainian, European, but also in Eastern musical culture - from Baroque and Classicism to innovations of the twentieth century, folklore, and jazz. Openness to different stylistic worlds, interpretation of his work as one of the steps towards a general musical synthesis, and an attitude to the avant-garde as one of the established traditions, rather than the only true artistic path, are the defining aesthetic positions.
The composer demonstrates a special approach in the interpretation of certain genres. Thus, in the symphonies (No. 2, somewhat less so in No. 3), there is a tangible desire to synthesize the principles of European symphonic thinking with the principles of Indian raga and Middle Eastern mugham: a long immersion in one mode, movement "deep into the state" as the goal of development. In the Second Symphony ("The Blessing of Sorrow"), this synthesis is realized on the basis of Slavic folklore intonations. The idea of special series of works is partially realized: 1) a series of vocal pieces based on poems from different countries and times (cycles based on poems by ancient Chinese and Korean, Ukrainian, Russian, Georgian, and ancient Greek poets have already been composed); 2) a series of duet pieces for the same instruments ("Transparent Threads" for 2 flutes, "Village Gossip" for 2 oboes, "Trees Almost Still" for 2 clarinets).
Among the peculiarities of the musical language is the use of various harmonic techniques: tonality, more often - free atonality, in the last decade - modality, including special neo-octave modes. In a number of his recent works, he uses a specific technique of "distorted reflections" as a special principle of organizing texture and developing musical thought ("Capricious Echo" for piano and harpsichord, "Similarities" for 2 clarinets).
