KOSTITSYN ON KOSTITSYN
- I studied at the Kharkiv Institute of Arts, graduating as a composer in 1988. In composition class I studied with Valentin Bibik (he has already emigrated from Ukraine), then for three years I took private lessons in Moscow with Denisov, a world-famous composer, Knight of the Legion of Honor in France (he also emigrated to France). Among my composition students is R. Freisitzer, who in 1992 was awarded an international prize at the "Yongsters of Art" competition in Lower Austria. I have written 37 works based on my invented method of organizing musical material, called "synchronous music," and recorded 14 CDs. My works are featured in programs about contemporary music on BBC radio stations; a program with my participation was recently prepared on Radio Liberty. I have also translated, for the first time in the CIS, J. Krenek's textbook on dodecaphony; students in many conservatories in the CIS study from this textbook, and this work is studied in the course on contemporary music.
KOSTITSYN ON KOSTITSYN'S "SYNCHRONOUS MUSIC"
Synchronous music is the result of compositional searches over several centuries, starting with Mozart. Remember "The Marriage of Figaro," where a march and a waltz sound simultaneously; music written in different meters but sounding at the same tempo. Such techniques occur episodically in American music—for example, in Charles Ives's "Central Park in the Dark" and "The Unanswered Question," and in Cowell's "Fourth Symphony."
The birth of the method was, not least, the result of my communication with Denisov—his desire to enrich rhythmic relationships led to the polyrhythm, poly-tempo music that I cultivate. My method has its own technical specifics, which inevitably entail certain aesthetic solutions and figurative deformations.
Using the method of "synchronous music," I have created four symphonies. The "Third Symphony for Choir, Orchestra, and Ten Conductors" has been recorded on CD.
- Yevgeny, you have decided to give wide publicity to the fact of your departure, while most emigrants hide their plans from others almost until the last minute. Why?
- I don't work anywhere, I am not dependent on anyone, and this gives me the opportunity to be sincere. I owe nothing to anyone here; I pay for everything myself. And besides, it is my position as an artist—I believe that people who listen to my music have the right to know how I feel about this country, this society, this state.
- Why are you leaving?
- If I were a professional oncologist, then, of course, I could realize myself in Ukraine. Near Chernobyl is the perfect place for an oncologist. But since—such bad luck—I am a composer by profession and consider myself a talented person—note, not only I do—I consider it a great sin not to realize my talent. In Ukraine, this is completely impossible. The USA, where I intend to live from this June, attracts me with its opportunities, standards of living, scale, and true democracy.
As a composer and musician, I have visited more than 30 countries; I have something to compare attitudes toward art and music, and I want to get rid of my Ukrainian passport as soon as possible. It should be remembered that I am 35 years old, and the average life expectancy for men in this country is currently 47 years, so one must choose between a cemetery and something more cheerful.
- What episodes from the reality around you do you perceive most painfully?
- I observe the professors of the Kyiv Conservatory. Those who haven't died have left; those who haven't left and haven't died have been awarded some insignificant prize. "Thrown a bone" before the presidential elections...
Ukraine's rating in the world—I can talk about this because I spend half my time outside Ukraine—is currently determined by two people: the serial killer Onopriyenko and former Prime Minister Lazarenko, not Taras Shevchenko or composer Kostitsyn. These are the fruits of state policy in the field of culture. Consider: the average earnings of a composer in Ukraine is the equivalent of $10-15 per month. I invite you to meet in America in a year—I promise you, in a year I will be a millionaire, and this money will not be earned by selling pies.
- The picture you have painted is quite dramatic. Nevertheless, your quite accomplished creative destiny serves as a direct refutation of the hopeless diagnoses you present...
- Yes, I am 35 and I live here. Nevertheless, I travel abroad a lot and look good. But I have never worked here, never gone to any institution for a job. I have not received a single hryvnia in Ukraine. And since I receive no income here, although half my life has been lived here, there is no reason to stay. I live off commissions, off performances of my works. My mandatory condition is that I receive money for this—at least $500 for an hour and a half. I have performed in Kyiv as well—but I received money for performances not from the Ukrainian treasury, but from Alliance Française, for example, or other independent sources. People like the Swedish ambassador, Archbishop Jonathan, the Austrian Consul General have approached me; I gave concerts for them or taught their children.
- Do you have a clear idea of how and where you will live in the USA?
- I want to make up in the second half of my life for what I was deprived of here. I would like my music to be played every day, for commissions to come every day, for it to be performed at festivals. And I am sure that all this will happen. Immigrants of my category are required by the government to be provided with work in the field in which the candidate has achieved success. It is in the interests of the USA that Yevgeny Kostitsyn does not drive a taxi but writes music.
In America, I intend to continue releasing unique programs of Slavic, including Ukrainian, music. I plan to hold a series of concerts in the USA under the general title "Music of the Era of Totalitarianism," where each concert would be dedicated to the music of a country from the era of totalitarianism. For example, music from the era of Pol Pot in Cambodia, Mao in China, Soviet music. And to attract composers who created works such as "Lenin in the People's Heart"; to invite those artists who performed them. That is, those people who created the cultural aura of totalitarianism. I intend to introduce America to, for example, the Ukrainian composer Bilash. In my opinion, this could be very interesting, since Western audiences are more familiar with the cinema and painting of that era. This could be combined with some theatrical actions, with displays of wax museum characters.
- So, you do not intend to renounce the cultural experience acquired in Ukraine?
- No matter how much I disown the regime—I was born here. 35 years have been given to Ukraine, and this mark will have to be carried for life. In my opinion, boasting that you are American or Ukrainian is stupid—it's like being proud of being born on a Tuesday or Thursday. But the stamp of the circumstances of birth, of course, remains for life and will affect it—whether I want it or not. And besides, the traditions of Russians, Slavs are very strong in the places I am going to. Why do I say I want to settle either in California or Florida? There they know Prokofiev, Stravinsky; many of the Romanovs have settled in Florida.
- In your opinion, is the emigration potential of Ukraine great, when speaking of persons of your category?
- I think it is not great. And not because everyone has already left. Emigration is a rather complicated matter. Often, artists are very withdrawn people, not interested in publicity. And what is needed for an immigration decision? Documents. A person must collect documents for years: copies of broadcast performances, posters, financial documents, copies of commissions, tour programs. He must follow the careers of his teachers and students. I would like to note the enormous humanitarian, missionary essence of the activities of the firm "White & Associates" in Ukraine, which handles my immigration case. American and Canadian lawyers cannot stay in Kyiv for more than three days—they leave, and everything depends on the training of local staff. The staff of this firm is sufficiently competent, and they do great work akin to rescue work—for many, living in Ukraine is tantamount to death.
- What are your immediate creative plans?
- I think my last composition in Ukraine will be a "Requiem," a funeral mass dedicated to this country and its victims. The country is dying out. The millions by which Ukraine's population has decreased over the last eight years are comparable to the number of people who died during the fascist occupation.
- Can you name one of your works that Americans surely remember?
- My work most often performed in America is "A Minute of Silence." Just one minute. Not a single extra note. In my opinion, this is a brilliant work. The American composer John Cage also has a "silent piece" (4 minutes 33 seconds). It, of course, has a completely different semantics. But it is more than four times longer than mine and therefore less talented. A minute of silence is a sign of ending, a time to look back. Now I have lived half my life, I am leaving, and the past rises before me in absolute silence.
Reference: Immigration for Persons with Extraordinary Abilities
The category of persons with extraordinary abilities in the fields of science, arts, sports, business under US immigration law includes holders of a major international award or prize (such as the Nobel Prize or an Olympic gold medal), or those who can demonstrate major achievements in one of the following areas:
- receipt of a national or international prize in their field;
- membership in professional organizations requiring outstanding achievements for admission;
- articles about the applicant in mass media;
- participation in scholarly councils or other bodies in their field as a person authorized to evaluate the work of others;
- any documented substantial contribution in their field;
- scholarly works published in professional journals;
- evidence of participation in art exhibitions, performances, competitions;
- evidence of commercial success in the arts;
- work in widely recognized organizations as a person whose contribution was significant or substantial.
It is assumed that the entry of immigrants of this category into the country is in the national interests of the USA.
"Zagranitsa" No. 2, 1999