Ukrainian music sounded in Sweden’s City

On May 1, the solemn opening of the European Festival « Ukrainian Spring » took place in Stockholm. It is already 9th and is intended to present the Swedes of Ukrainian culture as part of the European heritage.

Initiated in 2016 by a pianist Natalia Pasichnykeventually, the festival has turned into an integral part of the Swedish Royal Philharmonic program. This year’s discovery was remembered not only by a rich music program from the works of Ukrainian composers. And an important conversation about art that cannot be out of politics.

The impressions of what he saw and heard is shared by the musical observer of the UP. Natalka Pysanka culture.

The discovery of the Ukrainian Spring-2025 gathered an angel in the chamber hall of the Royal Philharmonic. Honorary guests – ambassadors of many European countries, members of the Swedish Parliament, journalists and musicians – came to the event.

At the same time, there were many invited Ukrainians who were genuinely happy: they hugged and talked. Three of our soldiers, who are now on rehabilitation in Sweden, also attended an event. One of them was accompanied by a wife with a young child.

As last year’s festivals have shown, the local audience comes not only to listen to music, but also to learn something new – they are busily interested in Ukraine and its history. The panel discussion listed in the program of the evening – about the role of culture during the war – aroused great interest, so it is not surprising that tickets to the event were bought lightly.

The discussion was moderated by Swedish journalist Lisa Burdwald, speakers – Stefan Forsberg, President of the Swedish Royal Academy of Music, Stefan Hedlund, Professor of Eastern Sciences of the University of Uppali, Sevgil Musayev, editor -in -chief of Ukrainian Pravda.

Important questions have been voiced that are not always understood by those who are not in the context of the Russian-Ukrainian war, for example, can art outside politics be? Why is it so important for Ukrainians to create cultural products during the war?

After all, it helps them to stay together, to live here and now, because the next day a Russian rocket can fly. Tatiana Filevskaya told how the Russians burned Ukrainian books in occupied cities and replaced them in Russian. The destruction and appropriation of Ukrainian culture is what the Russians have been doing for centuries.

The panel discussion has aroused great interest, so it is not surprising that tickets to the event were bought up lightly.

Mikael Karlin

Sevgil Musayeva mentioned the artists who died in the war, and the history of Victoria Roshchina, tortured by the Russians of a Ukrainian journalist, was also performed.

There were also thoughts on how important it is to promote Ukrainian culture right now, because it gives an understanding that Ukrainians are defending in this existential war.

Stefan Hedlund, a researcher of Russian culture, argued: « This is not Putin created Russia, Russia created Putin! If Moscow does not have control of Kiev, then there will be no Russia, but there will be Muscovy« .

The emotional discussion lasted half an hour, as Tatiana Filevskaya then remembered, at some point it seemed to her that they stopped breathing in the hall.

It is important now to promote Ukrainian culture, because it gives an understanding that Ukrainians are defending in this existential war.

Mikael Karlin

The Chamber Orchestra of the Lviv Philharmonic was invited to implement the concert program under the guidance of Vladimir Sivohip, as well as star Swedish soloists. Opened the program of the Ukrainian composer Alexander Kozarenko-« Sinfonia-Extravaganza », and later the audience captured the dance motifs of « Hutsul Triptykh » ​​Myroslav Skoryk and « Mountain Legend » for Alta with the chamber orchestra of Yevgen Stankovich.

The leading evening, or more precisely, a cultural guide, was the artistic director of the festival, the Ukrainian-Swedish pianist Natalia Pasichnyk. She presented the program blocks: the first was dedicated to the Carpathian motifs, the second, elegia-intimate, reflected the reflection of collective injury and pain.

Paul Celan’s poems were heard on Ukrainian themes, specially translated into this event by Swedish. The poet was born and raised in Chernivtsi, survived the horror of World War II, lost his parents, in his poems a personal injury intertwined with the collective.

Celan’s poetry was read by the famous Swedish actress Wall Ecublet, which was starred in Ingmar Bergman’s cult films.

Mikael Karlin

Celan’s poetry was read by the famous Swedish actress Wall Ecublet, which was starred in Ingmar Bergman’s cult films. Its reading was so expressive that it did not need a translation from Swedish. The emotional palette of these poems was complemented by the lyrical music of Valentin Sylvestrov and Sergei Bortkevich.

The third block was dedicated to American composers with Ukrainian origin – Leonard Bernstin and George Gershvin. The vocal works of these composers were performed by a cult singer Ann-Sophi von Oter. Particularly touching in her performance was the Ukrainian lullaby « Oh, a dream … », which at one time inspired George Gershvin to write a hit « Summertime ».

Finally, the famous poem of Lesya Ukrainka « Contra Spem Spero » was translated into the Ecuble wall. These words – « I hope » – well known and so important to Ukrainians now, touched Swedish listeners, who later wrote Natalie Pasichnik with excited feedback with a request to send the text of the poem.

After the poetry of Lesya Ukrainka, the life -affirming « Carpathian Rhapsody » Miroslav Skoryk sounded. The hall greeted the work with a stormy ovation, but later everyone kept breathing, because a shine « tune » Miroslav Skoryk sounded. Many of the Ukrainians did not hold back tears.

The host of the evening was the artistic director of the festival, the Ukrainian-Swedish pianist Natalia Pasichnyk.

Mikael Karlin

Natalia Pasichnyk explained the concept of the program of the evening:

”We strive to make the rich Ukrainian tradition and those artists whose Ukrainian origin has often gone unnoticed. Many of them lived far from their native land, others remained unknown to the world because they were forced to create under Russian occupation, which lasted for centuries in modern Ukraine« .

Stefan Forsberg, who has been director of the Royal Philharmonic for almost 30 years, said after a concert in a comment to Natalie Pasichnyk:

”I apologize for not understanding the importance of performing Ukrainian music in programs all these years, although you constantly told me about it« .

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