A Conductor's Life Transformed by Inviting Instrument-Never-Played Refugees to Join His Orchestra
A remarkable encounter on a Swedish train platform inspired Ron Davis Álvarez to establish a transformative orchestra, defying musical norms This is a tale of resilience, unexpected journeys, and the unyielding power of hope
Ron Davis Álvarez was left in shock as he stood on a train platform in Stockholm. The Venezuelan orchestra conductor had been in Sweden as part of a university exchange program, and he hadn't anticipated that his visit to a student group in 2015 would be anything but uneventful.
As an alternative, he observed crowds of individuals disembarking from trains, their weary faces evident. Volunteers hurried past him, distributing bananas and water to the newcomers.
"It was truly shocking to witness the arrival of so many young boys," Ãlvarez remembered.
He asked someone what was going on.
The answer: "They are from Syria and Afghanistan. Many of them are unaccompanied. They traveled here alone."
"What will happen to them?" Ãlvarez asked.
No one knew.
The scene unfolding on the Stockholm train platform was one of overwhelming desperation, a sight that has been repeated in cities around the world for centuries. In recent years, the impact of war, poverty, and persecution has become even more visible as an increasing number of people are forced to flee their homes. However, something stood out about this particular moment.
Álvarez stood there, observing, with a dormant idea beginning to take root in his mind.
This idea would eventually revolutionize his life and the lives of countless others he had yet to encounter. It would propel Álvarez and his message onto stages throughout Sweden and beyond. It would hone his skills as a teacher, infuse him with hope, and instill a sense of trepidation. Most importantly, it would offer direction to aimless teenagers who believed they had no hope of finding their way.
But like most big ideas, it started much smaller.
He launched the orchestra with 13 members. Many had no musical background
Álvarez returned to Sweden not long after, where he was appointed as the artistic director of El Sistema Sweden, located in the coastal city of Gothenburg. This program, inspired by the renowned El Sistema in Venezuela, aims to provide instruments and music education to disadvantaged youth.
Having started as a participant in El Sistema in his childhood in a Caracas slum, Álvarez learned to play the violin and eventually became a teacher and conductor. He credits this experience for shaping his life and presenting unexpected opportunities.
Hed continue that legacy at El Sistema Sweden.
But as he began his new role, the memory of what hed seen months earlier on the train platform remained seared in his mind.
The focus of El Sistema Sweden's work was on younger children attending Swedish schools. However, the youth pouring into the train station were already in their late teenage years. Many might assume that it's too late to learn an instrument at this age, but Ãlvarez knew better. He knew he had to try to help them.
Álvarez says that he encountered difficulty in persuading officials. He points out that they prioritized essentials such as food and shelter over providing music education to the increasing population of asylum seekers coming to Sweden. Despite this, Álvarez mentions that he took initial steps to address the issue.
Conductor Ron Davis Álvarez established the Dream Orchestra with the purpose of assisting a wave of unaccompanied minors who had recently arrived in Sweden. Given that a significant number of them were in their late teens and had no prior experience with musical instruments, he developed unique approaches to instructing them.
Gustavo Bandres, with a few borrowed instruments, went to schools to generate interest. Afterward, he brought together a group of 13 young individuals from Afghanistan, Syria, Eritrea, and Albania, and named them the Dream Orchestra.
"I recall entering the room and seeing many girls and boys, which made me nervous," Alvarez shares in a short film showcased on the orchestra's website. "It was intriguing because I simply arrived with the instruments and announced, 'Okay, guys, we're going to have a concert in two weeks.' I remember their surprise. I think they thought I was crazy."
A majority of the Dream Orchestra's members had no prior experience playing an instrument before joining. They hailed from various countries and did not share the same languages.
But they shared one major thing in common: They were immigrants, asylum-seekers and refugees searching for a new home.
And Ãlvarez was ready to help them find one.
Teaching older students required a different approach
Mostafa Kazemi lights up when he recalls the day he met Ãlvarez in 2016.
"Which instrument do you play?" the conductor asked him.
"I cant play," Kazemi replied.
Ãlvarez responded confidently and unwaveringly, "Absolutely, you can. Come and choose the one you prefer."
Kazemi, who hailed from Afghanistan, was only 16 years old at the time and had been in Sweden for just a few months. No one had ever spoken to him in such a manner before.
A few weeks after the Dream Orchestra was formed, Kazemi joined as one of its inaugural members. He chose the cello, inspired by a friend who also played the instrument.
We are more than just case numbers or names on a list. We are individuals who bring diverse knowledge, experience, and opportunities, as well as countless dreams.
Ron Davis Álvarez, the founder and artistic director of Dream Orchestra, led the small ensemble in rehearsals on Fridays and Saturdays. These were Álvarez's days off, but he saw them as an important opportunity to keep young people engaged and away from the streets.
Teaching the group was initially challenging for Ãlvarez, who was accustomed to instructing younger Spanish-speaking students from similar backgrounds. It was clear that a different approach was needed. Despite Ãlvarez and some members of the Dream Orchestra speaking English, misunderstandings were frequent and occasionally comical.
Body language played a crucial role in conquering those challenges. It was also important to establish a deeper connection with each individual - understanding their music preferences, background, and personal identity.
Mostafa Kazemi, center, smiles during a cello section rehearsal. He'd never played an instrument before joining the Dream Orchestra.
Courtesy Dream Orchestra
Álvarez's approach with older students also focuses on nurturing their confidence, particularly when it comes to making mistakes. "I tried to build confidence - first the confidence of the sound. Thats number one. Try to build big sound. Because the big sound is easy for me to start to (adjust), like a DJ. But its too difficult if its too little sound," he explains. "I prefer that you make a mistake. ⦠It doesnt matter if its the right note or not."
The key is to first build confidence, and then the right notes will come as motor skills are sharpened. According to Álvarez, this simply takes more time with older students. His students are inspired by his passion, which encourages them to push themselves.
"Ron's boundless energy was contagious," Kazemi recalls. "It inspired us to push ourselves further. We started practicing at home and I even recruited more students. Word spread and soon our orchestra grew from 13 students to a much larger group."
Eight years later, the Dream Orchestra boasts over 400 members from nearly 20 countries, collectively speaking around 20 languages. The organization includes multiple ensembles for students of varying ages and skill levels, located in and around Gothenburg. Members come from diverse backgrounds, including children of immigrants, long-standing Swedish families, and even parents of the young musicians. Additionally, Álvarez is now employed by the Gothenburg Symphony, overseeing a summer music program while still dedicating substantial time to the Dream Orchestra each week.
Refugees and asylum seekers remain the core of the group, Ãlvarez says, "but its an orchestra for everyone."
This student was skeptical about joining. Then he saw a performance
When Mushtaq Khorsand first heard about the Dream Orchestra from a friend at school, he had no intention of joining. Knowing enough about classical music, he believed it wasn't for him. Recalling his initial thoughts, Khorsand said, "I have seen people playing in a classical music orchestra before. They are usually sad and look like they don't want to play. I'm a hip-hop guy, you know. We jump."
After watching a single performance by the Dream Orchestra, he had a change of heart. Seeing his school friends seated next to unfamiliar faces, all smiling as they performed, he mustered the courage to approach Álvarez and inquire about joining. That simple question, he believes, was a turning point in his life.
Ever since leaving Afghanistan, Khorsand has often felt undervalued and underestimated by others. Even before he had a chance to play, Ãlvarez already believed in him. Acting on Ãlvarez's suggestion, Khorsand initially began playing the French horn, but later switched to the flute when the opportunity arose, drawn to its softer tone.
Impressed by the joy his friends experienced during a performance, Mushtaq Khorsand eagerly accepted the invitation to join the Dream Orchestra. Despite his increasingly busy life, he continues to perform with the group. "I can't imagine my life without them," he affirms.
Credit: Rey Trombetta/Dream Orchestra
The orchestra community provided support during tough times, including a difficult immigration decision. When Khorsand and fellow musicians faced challenges, Ãlvarez offered a listening ear and assistance.
"Coming here was a pivotal moment for me, as I was facing significant challenges. I wasn't permitted to work and didn't have the means to support myself. If it weren't for Dream Orchestra and meeting Ron, I don't know where I would be," he reflects.
Now 25, he works as a job coach, assisting other refugees in finding employment in Sweden. He also has a young son who enjoys listening to him play the flute, and he has even released a solo Dari-language hip-hop album.
He has also explored other genres of music. On the Dream Orchestras YouTube channel, there are videos of him rehearsing and performing with other members of the group, where he can be seen playing, singing, dancing, and smiling. He aspires to become a music teacher, following in Ãlvarez's footsteps.
Even as his life has gotten busier, he makes a point of playing his flute with the group every weekend.
"Its the only thing I do for myself," he says. "I cannot imagine being without them."
Merengue para el primer dedo, by Carlos Medrano y Ritmos Ciganos Carlos Garcia.
Training professional musicians isnt the goal
The story of Dream Orchestras is not about a group of misfits climbing to the top of the classical music world. According to Ãlvarez, that was never the intention. While some members have pursued further music studies after their time in the orchestra, Ãlvarez is most excited about their potential for impact beyond music. His dreams for the orchestra members extend far beyond their musical abilities, and he feels the greatest pride when he hears about their efforts to help others.
We aim to help them navigate their way in society with empathy, values, and respect," he says. "I'm not looking for everyone to become a musician. I want them to become the best version of themselves." In a era where migrants make up a larger percentage of the global population and the number of displaced individuals has reached an all-time high, Ãlvarez recognizes the orchestra and its members have a crucial message to share.
"We are individuals, not just statistics or names on paper. Each of us brings unique knowledge, experience, and dreams to Sweden. Immigration to Sweden reached its peak in 2016, and although it has since remained high, government statistics show that it is still at a manageable level. In response to this, Swedish officials have implemented stricter immigration policies in recent years, citing sustainability and concerns about crime."
In November 2015, a stairway at a train station in Malmo, Sweden, was crowded with migrants seeking asylum. During this time, Sweden was recognized for its open immigration policies in Europe. However, in recent years, Swedish officials have implemented a series of stricter immigration policies.
Johan Nilsson/AFP/Getty Images
However, Ãlvarez views the influx of immigrants as a chance for growth rather than a danger. Directing the Dream Orchestra has broadened his perspective in numerous ways over the years. As approximately 20 musicians from the ensemble prepare to perform at one of the most significant events in the orchestra's history on a December morning, Ãlvarez wishes for others to share in his vision.
Nobel laureates and local residents are gathered in the Gothenburg auditorium, while a national audience tunes in on Swedish television and global viewers stream the concert on YouTube. The day-long Nobel conference on the future of migration features the Dream Orchestra as a highlighted performance.
The lights dim as the orchestra prepares to perform their first piece: a Swedish folk song with a poignant significance for the musicians.
Title: "Who Can Sail Without the Wind?"
As Álvarez summarized to the crowd, "You can navigate without many tools, but you cannot sail without shedding tears when you bid farewell to your friends."
Álvarez understands the difficulty of leaving home and starting anew in a foreign place. He is also living far from many of his own family members, thousands of miles away.
The maestro stands center stage and raises his baton in the air.
Sitting in the Nobel spotlight, one of the groups newest members speaks out
One of the orchestras newer members plays the folk songs melody.
Tymofii Slakva, who goes by Tim, is a 16-year-old pianist who was forced to flee Ukraine with his family after Russians invasion.
The song begins with a solemn melody, accompanied by soft strings in the background. As the other instruments fade, Slakvas' hands confidently dance across the keyboard, turning the mournful tune into a powerful and triumphant solo.
Having played piano since childhood, Slakva shared in a recent interview with CNN that the Dream Orchestra has provided him with a sense of connection and community in his new home.
On weekends, the Swedish tradition of "fika" is a cherished part of orchestra rehearsals, providing a time for friends and family to enjoy coffee and pastries together. Slakva eagerly anticipates this weekly gathering, where they share food, conversation, and companionship. "I enjoy our time together," Slakva remarks.
Slakva, with a father who is also a pianist, shares his passion for performing. He is delighted to have been brought to this stage by the orchestra, not just for the music but also for the opportunity to participate in a panel discussion about the immigrant experience in Sweden.
Dream Orchestra members Azra Avci and Tymofii Slakva shared the stage with University of Gothenburg Associate Professor of Political Science Andrea Spehar at a Nobel event in Gothenburg, Sweden, in December. (Photo courtesy of Anna Svanberg/Nobel Prize Outreach)
He shares with the audience a burden that has been on his mind. Although Ukrainians are thankful for the temporary residency granted to them in Sweden, they still lack the government-issued personal identity numbers that would provide them with the same financial and employment opportunities as other residents, including some members of the Dream Orchestra from different countries. He expresses hope for this to change in the future.
"There are countless restrictions," he explains to the audience, emphasizing that without a personal number in Sweden, "there is no future."
Álvarez also has the opportunity to offer his viewpoint. From his perspective, there is much that politicians and world leaders could learn from this music ensemble.
"I view the orchestra as a reflection of society," he explains. "Being part of an orchestra requires learning to listen to and understand one another, fostering a sense of compassion and empathy."
Deportations and other obstacles have shaped the group in unexpected ways
Thats not to say there havent been challenges over the years.
Initially, some students had difficulty following directions from female conductors and teachers, which has led to tensions among orchestra members from countries with historical conflicts. While some conductors may choose to disregard these issues, Álvarez directly addresses them, aiming for the orchestra to become a safe and nurturing environment for its members to learn and grow together.
"We must all respect each other as people. Though we cannot erase the past, we have the power to rewrite the future," he asserts.
"It's the only thing I do for myself. I cannot imagine life without them."
Mushtaq Khorsand, a flutist in the Dream Orchestra, on what the group has meant to him
But for Ãlvarez, the past is always present, too.
As he leads the orchestra, Álvarez not only considers the musicians before him, but also those who have left. Founding the orchestra was a wonderful experience, but he never anticipated the hardships that came with the members learning the outcomes of their immigration cases. He believes that over 10 members have been deported since the orchestra was established, and each departure has left an irreplaceable void.
Alvarez's fear of losing orchestra members transformed his perspective. Despite already being recognized as a passionate and energetic teacher, he pushed himself even harder.
"I need to offer a lot," he declares, "because I have no control over whether they can remain or not. But I do have control over whether to equip them with some resources that they can take with them if they have to depart."
He lost his asylum case and left Sweden. But the orchestra is still part of him
Following multiple unsuccessful appeals in his asylum case, Mostafa Kazemi departed from Sweden several years ago to avoid potential deportation back to Afghanistan.
Now residing in France, Kazemi, a founding member of the Dream Orchestra, has been granted asylum after eight years. Despite no longer having a cello or the opportunity to play one, he is focused on finding stability in his new home. Working as a restaurant cashier and dedicating his efforts to establish himself, Kazemi spoke to CNN via Zoom about his new life.
But Kazemi says he still carries the orchestra with him, and he always will. The experience, he says, changed the way he saw himself and the world around him.
The Dream Orchestra performs at a church in Gothenburg. Ãlvarez says holding frequent concerts and setting goals has helped inspire his students.
Courtesy Emelie Asplund/Dream Orchestra
"I came to understand the true meaning of life through the love and care I received. On my birthday, they would always bake cakes for me. Even now, whenever I reach out to Ron, he reassures me, 'We always have an open door for you,'" Kazemi shares.
During a recent trip to Sweden, Kazemi had the opportunity to visit Ãlvarez and attend a rehearsal of the Dream Orchestra.
"It was like I had left yesterday. I came to the same door. ⦠Everything was the same, except there were more children," he says. "I was just feeling home."
Worry about finances keeps him up at night. But he hasnt lost hope
Álvarez is distraught at the thought of Kazemi being in France without his cello. He dreams of being able to send him one and also finding a way to help pay for a new teacher for Kazemi. However, finances are currently strained.
After January, Ãlvarez is uncertain about the sources of funding for the orchestra. While an organization in the United Kingdom has committed to covering 20% of their expenses, Ãlvarez continues to seek additional support.
Historically, family foundations have been instrumental in providing the necessary funding to sustain and expand the orchestra. However, Ãlvarez notes that fundraising has become increasingly challenging. The reduction in arts funding during the pandemic has yet to fully recover, and a less hospitable political climate towards migrants and refugees in Sweden and other countries has further complicated the situation.
The recent Nobel performance left The Dream Orchestra with a standing ovation and inspiring words from laureates and audience members. Despite this, Ãlvarez has expressed concern that the orchestra has not seen an increase in donations. The worry about the orchestra's finances keeps him up at night, but he remains hopeful.
His experience conducting the Dream Orchestra has made his belief in people even stronger.
He knows how far theyve come together. And he knows there are still so many ways the group can grow.
Richard Meyer arranges "Themes for Scheherazade"
The Dream Orchestras website contains a comprehensive document outlining its unique approach, with the hope of inspiring others to develop similar programs. Meyer has also taken his expertise to refugee camps in Lebanon, sharing his knowledge and experience. Recently, a group of teachers from Ukraine visited the Dream Orchestras and are now planning to implement the same model to assist children affected by war in their own country.
Ãlvarez frequently posts on social media praising the group and showcasing their recent performances. He also keeps a recording of one of the Dream Orchestra's initial rehearsals on his phone.
As he plays the piano and sings the melody, everyone else's instruments are out of tune, with their bows scratching across the strings. Many of their pained faces show their struggle to find the right fingering.
"It sounds terrible," Álvarez laughs, "but that wasn't my focus at the time."
Alvarez was always focused on their collaborative projects, seeing nothing but potential, much like a designer visualizing how to transform an empty house into a beautiful home.
He hopes that what he witnessed on the train station platform that day will encourage others to also reach out to immigrants and refugees in their communities. He believes that all of us have a lot to offer each other.
