The odds were against him, thought violinist Kostia Lukyniuk. The 20-year-something knew he was under the radar. Not by the looming enemy advancing on every side of his country but by the Ukrainian military that pushed to enlist him and put him on the frontlines. He was a musician, not a fighter. But there was no escape, he thought. That's until he received Frost School of Music's acceptance letter. And just like that, his story got rewritten.
In conversation with Lukyniuk, he took us to that fateful day almost a year ago when fear of the unknown overcame him. That was quickly followed, he recalls, by a magical case of serendipity and a swirling of creativity that's happened since that day.
Kostia, you were pursuing your undergrad at Eastman School of Music in Rochester, New York, when the war broke out in your country. You had already made a stamp in Rochester as a unique violinist with a rare combination of classical music and contemporary vision, engaging your audience and breathing new life into a centuries-old instrument. What made you go back home last year amid a heated war between Russia and Ukraine?
Kostia Lukyniuk: It's crazy how it all happened. My visa ran out, so I went back home. I knew a war was going on, but that didn't scare me because that had been going on since I was a kid. The conflict started in 2014, so when people asked me if I was afraid to return, I was like, this is not news. I know about it. My dad has been there as a military chaplain many times, talking to our soldiers. Nothing is going to happen. I just wanted to get my visa and return to the U.S. I love this country. I love all the opportunities it's given me.
But now the Ukraine military wanted you.
Yeah, that's when things got scary. As I walked down the streets, I began to get approached by military personnel and police randomly. They saw that I was in my early 20s and told me, "Let's go, you're coming with us," and dragged me into the recruitment center. They didn't ask me if I wanted to enlist in the army. Oh, no. The first two times that it happened, I used my connections and called up some politicians that I knew, and they bailed me out. But the third time, it happened so fast that I didn't get a chance to call anyone. And so, they took me into the recruitment center and served some papers that said I would undergo a medical examination and training starting the next day! And then, I would be sent to the front lines.
I'm a musician, not a fighter. I'm not trained for war. Since I was five, I have put my whole life on the line for music. And now they wanted me on the frontlines of war? I came here to the U.S. when I was 18 with nothing. I didn't know anybody. I was just this guy with a suitcase, a violin, and $400 in my pocket in a new city, a new country. I've spent much time, energy, and effort refining my talent and making it presentable to people. I only wanted to share my music—spread joy and happiness.
So, when exactly did the story change for you?
[Smiles] I got home and found a package from Frost School of Music that day. It was my acceptance letter into the Violin Performance graduate program—the only thing the army would accept for me to leave the country. The paperwork didn't end there, of course, but after a series of documents, permissions, and signatures, on June 11, I left Ukraine and went to Europe to work on my visa that would get me back here.
And what is it about Frost School of Music that attracted you, to begin with?
I love Frost School of Music and its complex approach to raising somebody trying to be a musician. That's why I'm very excited to be here. This school saved my life. When I was here on February 1, 2022, auditioning for the school, I had no idea what would happen. After I left Ukraine, I went to Germany and waited for more than two months for the visa to arrive. As soon as I got it, I was on the next plane to Miami.
And now that you are here. Do you ever think about how different your life would have been back home? How has this school changed your life?
First, I feel very blessed to be here. Every single day for me is a gift filled with opportunities. Yes, not a day goes by that I don't think of how badly my story could have ended in the war zone. I can tell you about some fellow musicians, even violinists, who were recruited just like me. They spent only seven days in training and five days on the front lines, and that's where their stories ended. As for me, Frost has given me a different life—one where I can have a platform for my music and help humanity in a much more efficient way.
How does music inspire you, and how do you inspire others with your style and unique approach to violin performance?
Music is a great art form. It plays out where words cannot express a certain meaning or emotion. As a musician, you can tap into that and bring joy to people in a universal way. I was blessed with talent and with good training in my life. From early on, I've had incredible mentors who have helped me develop into a great musician. All of that led me to America. It allowed me to be here—to study and perform.
As you pursue your master's degree in violin performance, who are those people who have mentored you and enriched your music?
Professor Charles Castleman, the head violin professor at the Frost School of Music. He is a legend and the reason why I'm here. I love working with him because his method of teaching is very non-invasive. It's more like, let's make you a better version of yourself, not, let's make you into a version of me or that of a musician that I like that already exists. Let's bring up whatever is essentially in you, but let's bring it up professionally and aesthetically pleasingly. He has connected me with other violinists—musicians here doing different events, which is what I do. Because of his leadership and guidance, I've been able to climb up the ladder quickly. Another is Professor Nicole Yarling. Her training in composition, arranging, voice, and violin is remarkable.
Tell me about being an entertainer in the Miami music scene.
Miami is a city with many opportunities, and there's a lot of demand for the kind of music that I'm providing, but more supply is needed.
Entertainment is the dominant industry in Miami. It is a hub of entertainment, and people are craving great entertainment. I've plugged into the community, performing for different people in various other settings, from bars and clubs to private, corporate, and community events like the Art Basel show. I performed there last month, and it was a blast!
Some critics are saying that you are revolutionizing the violin as an instrument. What are your thoughts on that?
In our class for music training, it's more about following the script and the sheet music. I don't call that being a musician; I call that being a reproducer, which trains you to reproduce the written piece. And what I'm trying to do is to cultivate and revolutionize the violin as an instrument.
The violin is a great instrument but has yet to go through that kind of revolution. Unlike the guitar, piano, saxophone, or trumpet, the violin has had minimal popularity. My mission is to popularize the violin and show its tremendous qualities and unique possibilities.
What is it about the instrument that you love so much?
I love the violin for its tone. The violin was created to imitate the human voice. I love the instrument just for the possibilities of articulation. With a piano, you can play the notes loud or soft. With the violin, you can develop the note. You can start soft, develop it loud, and do it in waves—from quiet to punchy, aggressive to smooth. It's a complex instrument to master, but when you do, it tells a story with a tone and style. When I play the violin, the biggest feedback I get from every show I play is, "I've never heard a violin sound like that."
Finally, what defines you as a violinist?
I'm a crossover violinist. Someone trained in classical music but influenced by artists such as David Garret, a German classical and crossover violinist and recording artist. Because of his sound, I became fascinated with jazz improvisation. I listened to Miles Davis and Sonny Rollins, who made improvisation a whole new thing. I followed guitar heroes like Santana, Eddie Van Halen, and Joe Satriani. Another significant influence is Jacob Collier, an English singer, songwriter, and multi-instrumentalist. He's a little older than me and mixes jazz with elements from other musical genres in his lively, energetic performances.
I'm different from many violinists. Maybe 90% of violinists who undergo musical training end up working in an orchestra. And there's nothing wrong with that. I'm more like an entrepreneur, a violinist with a brand of his own. That's what attracted me to Frost, and that's what it taught me—how to define it and sell it.
