Sonare for Double Bass and Ensemble (2024): [score], [listen on YouTube]

Commissioned by the Ukrainian Contemporary Music Festival 2024 in New York, this composition represents a continuation of my artistic exploration of the Double Bass as a solo instrument. It is the next step after showcasing the instrument standalone on stage. Now, I position it as a soloist interweaving with other instruments within the ensemble. I endeavor to construct a rich, saturated, and tense sonic field, particularly emphasizing low frequencies, where the double bass resonates most profoundly in my perspective. The composition is filled with an array of extended techniques, and I strive for disparate sounds to mutually enhance one another, resulting in a nuanced and intricate palette of colors.

Emotion №1 for 5 Cellos, Electronics, and Light (2024): [score], [listen on YouTube]

Commissioned by Jauna Muzika 2024, a piece that delves into the intricacies of emotional perception during extremely hard historical times. Through its very tense musical structure, this composition reflects on the collective experiences of societies enduring profound upheavals, particularly those influenced by the ongoing war in Ukraine. In an era where constant high stress has become a "new reality", "Emotion №1" underscores the significance of holistic well-being, emphasizing that health encompasses not only physical but also mental and social dimensions.
P.S. Big thanks to Vasily Ratmansky for help with the electronics part.

Sound Structures for Ensemble: Volume One (2023): [score], [listen on YouTube]

Created in collaboration with ensemble mosaik, the piece offers a purely audial experience. In this work, I experiment with minimalistic and aleatoric approaches across five movements, presenting slowly unfolding imaginary paintings. These compositions serve as a creative laboratory where I seek to discover new or exciting sound fields.

Sonare for Ensemble №2 (2023): [score], [listen on YouTube]

Commissioned by ensemble mosaik, the piece employs an intentionally unstable rhythmic pattern, generating a slow but constant motion. The piece unfolds as a gradual crescendo, building a taut, tense atmosphere. Its dramaturgy leads to a climactic moment where all voices converge into a single rhythmic pattern, though this should not be seen as a resolution. Additionally, 2023 year marks the anniversary of the esteemed composer György Ligeti, and Sonare for Ensemble №2 pays a small tribute to his groundbreaking work by incorporating elements inspired by Ligeti's brilliance.

Sonare for Ensemble №1 (2019): [score], [listen on Youtube]

Written during the VIII International Master Classes of New Music COURSE in Lviv, Sonare for Ensemble №1 is devoid of extra-musical inspiration. The piece focuses on pitch manipulation only, offering an abstract exploration of sound without external references.

Sonare for Double Bass Solo (2023): [score], [listen on Youtube]

Commissioned by Nazarii Stets, the composition aims to create a sound field that intrigues me and present it to the audience, asking, "What do you think about these structured, man-made sounds?" The title Sonare reflects this idea. Also, this piece is the start of the artistic exploration of different complicated emotions only through instrumental music. In this composition, I try to convey rage using only a double bass, with the added personal challenge of composing an acoustic work without any pauses.

Sonare for Guitar Solo №1 (2019): [score], [listen on YouTube]

Composed in collaboration with guitarist Vladyslav Indyk, it attempts to present a postmodernist piece that uses material resembling renowned avant-garde works, such as Tristan Murail's Tellur, Ginastera's Guitar Sonata, and Luciano Berio's Sequenza for guitar. At the same time, the piece explores two contrasting aspects of the guitar: a saturated, emotional sound world and the fragile, subtle timbres of the instrument.

Moments for piano solo (2016):  [listen on YouTube]

The piece was written for the composition exam for the National Music Academy in Ukraine. It consists of eight short movements, each lasting around a minute, portraying small, imaginary paintings, inviting listeners to experience fleeting yet vivid soundscapes.

7 Sounds for Violin and Double Bass (2021): [score], [listen on YouTube]

Commissioned by Orest Smovzh and Nazarii Stets, this piece consists of seven super-short movements. It reflects on the social phenomenon of shrinking attention spans, where even a 10-second TikTok video can feel lengthy. Through these fleeting movements, the composition captures the fragmented, ephemeral nature of focus in the modern world.

Sonare for Mixed Choir A Cappella(2018): [score], [listen on YouTube].

A purely a cappella experience focused solely on pitch manipulation. The entire composition revolves around two chords, exploring their various transformations and polyphonic developments. This work highlights the richness of sound that can emerge from simple harmonic foundations.