Abstract
The purpose of the research is to determine the historical ties between Sweden and Ukraine, which allows the analysis of the Concerto for saxophone and string orchestra by L.-E. Larsson to mark the distinctive national features that stand out against the background of the lyrical reserves of the Swedish and Ukrainian artistic parties. As a methodological basis, we put forward the intonation approach of the school of B. Asafyev in Ukraine, as it developed in the works of D. Androsova, O. Markova, O. Muravska, with emphasis on hermeneutic and stylistic-comparative analysis. The scientific novelty is determined by the primacy in highlighting the national characteristics of the Swedish composer's thinking in comparison with the achievements of the composer's output of Ukraine, as well as the fact that, for the first time in the musicology of Ukraine and China, the Saxophone Concerto of L.-E. Larsson became the subject of musicological analysis. Conclusions. The memory of the historical conditioning by the Byzantine grounding of the culture of Kyivan Rus and Viking-Varyangs of the future Sweden, the contacts of the Ukrainian Cossacks and Sweden of the 17th century allows us to trust the lyrical and melodic coincidences in the musical expressions of Sweden and Ukraine, of which the former stands out from the Scandinavian environment by its credibility to the popular sphere and to the academicism of professional-composer expression. Analysis of Concerto for saxophone with string orchestra by L. - E. Larson, performed for the first time in Ukrainian and Chinese musicology, testified to the prominence of national features of the Swedish master's expression precisely in the academic lyricism of thinking, which stands out against the background of the clear correlation of his composition with the achievements of H. Mahler and J. Sibelius.
 Key words: concert genre in music, style in music, national style, historical traditions and music, Swedish music, Ukrainian music.
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