Maxim Shalygin (b. 1985, Kamianske, Ukraine; based in The Hague) has stunned the music world for years with his urgent and original compositions. Self-described as a “maximalist,” his music is renowned for its emotional intensity, bold formal experimentation, and uncompromising expressive power. His catalog includes over 50 works across diverse genres, ranging from chamber, vocal, symphonic, and electro-acoustic music to scores for theater, ballet, opera, and film.
Shalygin’s music is adventurously omnivorous yet rooted in tradition. This unique voice has caught the attention of leading critics; as the renowned Dutch music journalist Bas van Putten wrote in De Groene Amsterdammer:
“Shalygin’s music possesses a spiritual intimacy and the unpredictable, sometimes roughly escalating power that distinguishes him from the melodic complaisance of the neoclassical domain.”
MUSICAL SIGNATURE
Shalygin began his serious study of composition at the age of sixteen at the Kamianske Music College with Irina Ivashenko. His international training includes one year of intensive study (2004) at the St. Petersburg State Conservatory (RU) under composer Borys Tishchenko, , a Master’s degree (2010) from the National Music Academy in Kyiv (UA) under Igor Shcherbakov (developed under the significant influence of Svyatoslav Lunyov), and a second Master’s degree (2011) from the Royal Conservatory of The Hague (NL) under Cornelis de Bondt and Diderik Wagenaar. His studies at the Royal Conservatory in The Hague within the post-Andriessen tradition are clearly audible. However, while the previous generation viewed minimalism as a form of sensitive rationalism, Shalygin adds the spiritual undertone that is characteristic of Eastern European music.
His spiritually charged music is more than mere sound; it is an existential experience – intense yet vulnerable. He possesses the skill to develop his compositional material into a compelling narrative with a vast arc of tension that can be truly hypnotic. This combination of technical command and spiritual depth makes his music accessible to a growing, appreciative audience despite its complexity.
Critics and peers highlight his ability to blend extremes and foster deep emotional connection. Moritz Eggert (nmz – neue musikzeitung) describes his work as “an incredibly intense experience of the highest artistic quality imaginable… deeply authentic,” while Bas van Putten (De Groene Amsterdammer) notes its “spiritual intimacy and unpredictable, escalating power.” Mark van de Voort (Hémisphère son) identifies him as a “composer of daring and bravery” whose music “seems to put a smile on the face” even amidst the tragedy of war. Nell Westerlaken (Volkskrant) calls him a “master at crafting unique and communicative sounds,” and Ben Taffijn (Nieuwe Noten) praises his “excellent sense of atmosphere and harmony.”
2024 & 2025: A PIVOTAL TURNING POINT
The years 2024 and 2025 represent an exceptionally fruitful period for Shalygin. In 2025, his first opera, Amandante, premiered at the Muziekgebouw aan ‘t IJ. The NRC awarded the opera five stars and selected the work for its “Top 10 of 2024,” describing it as:
“an emotional roller coaster ride, a triumph of musical imagination.”
Following its premiere, the production embarked on a European tour in 2025 with performances in The Hague, Berlin, Wiener Musikverein, and Kyiv Philharmonic.
In 2025, Shalygin received prestigious commissions from the Rotterdam Philharmonic Orchestra (Canto Inferno, commemorating the bombardment of Rotterdam) and AVROTROS for the Netherlands Radio Choir and Radio Philharmonic Orchestra (Canto Paradiso).
The audience voted Canto Inferno into the “Top 10 Most Beautiful Works” – the first time a new composition has ever achieved this distinction in the Rotterdam Philharmonic’s history. Feedback reflected a profound emotional and spiritual connection, with listeners describing the work as a transformative experience that released deep emotions and personal reflection.
In 2025 Shalygin served as the City Composer of The Hague during the “Day of the Composer,” and the Ukrainian cultural organisation Dom Master Klass dedicated a full portrait concert to his works for string orchestra at the National Philharmonic of Ukraine.
INTERNATIONAL RECOGNITION
After receiving an honorable mention at the Gaudeamus Competition in 2012 for Letters to Anna and participating in Lars von Trier’s Gesamt project, Shalygin’s music gained significant attention from critics and audiences alike. He has collaborated with leading ensembles and musicians, including Asko|Schönberg, the Netherlands Chamber Choir, Amsterdam Sinfonietta, Rotterdam Philharmonic Orchestra, Radio Philharmonic Orchestra, Netherlands Radio Choir, Bavarian Radio Choir, Belgian National Orchestra, Tomoko Mukaiyama, and many others.
His work has been performed at venues and festivals including Klarafestival, Carnegie Hall, Huddersfield, the Dutch Violin Competition, Muziekgebouw aan ‘t IJ, De Doelen, TivoliVredenburg, the Concertgebouw, and the National Philharmonic of Ukraine. He has held residencies at Izolyatsia (Donetsk, UA), the Storioni Festival (Brabant, NL), Soundsofmusic (Groningen), the Tomoko Mukaiyama Foundation, Muziekgebouw aan ‘t IJ (Amsterdam, NL), and Classical NOW! (The Hague, NL).
His albums have been released on his own label, BLUKANYA, as well as on TRPTK, receiving high praise from the press. Maya Fridman’s interpretation of Canti d’inizio e fine was hailed by de Volkskrant as a musical highlight of 2019.
His compositions consistently receive critical acclaim:
- Todos Los Fuegos El Fuego (NRC Top 5, 2019)
- Canti d’inizio e fine (Volkskrant Top 40, 2019)
- Amandante (Opera) (NRC five stars, NRC Top 10, 2024)
- Canto Inferno (Audience Choice Top 10, Rotterdam Philharmonic)
His work is published by Donemus Publishing.
