Natalia Tsupryk is a composer and violinist whose work blends strings, vocals, and electronics, shaped by her classical background and Russia’s ongoing war in Ukraine. Since her debut album Choven in 2020, she has released a series of solo and collaborative works across contemporary classical, folk, and experimental music, including projects with Angus MacRae, Neil Cowley, and LEITER. Her latest EP, Are We Alive? was released by Moderna Records in January 2026, alongside her work for film, theater, and documentary.
How did you arrive at the violin as your primary instrument? Did you grow up in a musical household?
In Ukraine, it’s common for children to play an instrument, even if they’re not going to become professionals. My parents weren’t musicians, but they loved classical music, so they chose the violin for me when I was very small. I actually remember struggling with it as a child. Interestingly, I was much better at piano, which you have to learn too in Ukraine, no matter what your main instrument is.
Having studied the classical repertoire, how did you arrive at music more on the ambient spectrum? Was there an album or musician that pushed you toward the genre?
I was always interested in film and modern classical music, even when I was playing traditional classical stuff. I then slowly started writing and recording my own music, mainly for theatre and film. I didn’t have the courage to release any solo work until the COVID pandemic — then, I recorded a simple album of 7 pieces for violins and violas. Surprisingly, that opened a couple of doors for me!
What is your process for writing for film vs your solo work? Does working to a defined visual aesthetic and under deadlines, change your approach?
The process for both is very similar. I record as much as possible myself in my studio. It’s very useful to be able to do that when under pressure and deadlines. I also try to work on projects where the score is similar in style to my solo work, although an occasional challenge is also interesting. I love it when people discover my music and ask for the same sound in their film, etc.
What is your relationship between performing vs composing? Was there an initial focus on one Or the other, or did those two skillsets develop naturally together?
I didn’t compose professionally until I was 22 — my first gig was a pretty big play at a theatre in Kyiv, and I remember the director was a little worried (it was alright in the end!) As for performing, I was doing it my whole life, but I don’t think it was my favourite thing… I would only perform big classical things, never my own music. Not to the public, anyway.
You have a new EP, “Are We Alive?”, coming out on Moderna; what is the tonal landscape of that release? Were there conscious themes or aesthetic choices you set out to explore for this?
The tonal landscape of ‘Are We Alive?’ is pretty much my comfort zone, and I’m very glad Moderna has released it — those guys have amazing taste in music! I love improvising on the piano, sometimes late at night, so I decided to record some of it. I then recorded lots of other layers on top. I did two wonderful, very different collabs with Angus MacRae and Neil Cowley, both pianists and incredibly talented musicians, and in both cases, the tracks were created through improvisation. When recording the piano and layering it with strings and synths here, I tried to adopt this collab method, treating it as two different people — one plays nice melodies on the piano and the other adds layers, moods, soundscapes, and so on.
What kinds of books, films, or music are sparking your curiosity right now?
I read a lot of new Ukrainian literature. It’s incredible how inspiring a good novel can be. Regarding music, I’ve been very much into choral music lately. And I love good old films — somehow a lot of new stuff, especially TV, doesn’t do the trick for me at the moment.
How has being Ukrainian shaped your musical identity?
I think quite a lot. There are so many great artists in Ukraine, often not known abroad, and I try to learn from them. Sadly, a lot of people left Ukraine, and I mean way before the Russian invasion in 2022. The Soviet arts system was horrible and drew the talent away. Young progressive artists are changing this system, however, and I’m very glad. They tend to stay in the country, despite the war, and do a huge amount of incredible things on the cultural front. I’d say I have very high hopes of the young Ukrainians who weren’t touched by the corrupt Soviet era.
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