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In a book entitled Mielen maisemat ja musiikki (Landscapes of the Mind and Music) Kari Kurkela addresses the problems encountered by the child in learning to play a musical instrument in the light of psychoanalysis and mythology. Lively interaction between training in sensitivity and the constructive channelling of aggression is, he claims, important: so important in fact that without these elements of creativity the child's playing will be reduced to little more than "potty training".

Paavo Berglund, Jukka-Pekka Saraste, Osmo Vänskä, Esa-Pekka Salonen, Sir Colin Davis, Sir Simon Rattle, and Neeme Järvi are today's great Sibelius conductors, carrying on a tradition that began with Robert Kajanus and Sir Thomas Beecham. What are their thoughts on the Finnish composer?

The Estonian song festival is a concept whose history and significance cannot be assessed with conventional artistic criteria. Since the last century, the song festivals organized in Tallinn have been a demonstration of Estonian culture and national spirit whose power has been strongest at crucial turning points in the nations history. On the other hand, they have also served as a showcase for a rich and original culture of singing and as a demonstration of a rare and heartfelt musical togetherness.

Estonia is near Finland, but Estonian and Finnish contemporary music differ considerably from one another. Composer Kalevi Aho has acquainted himself with Estonian music for instance at Estonian contemporary music seminars in 1995 and 1997 and observed that Estonian composers cannot be bracketed into the same categories as their Finnish colleagues.

Flying home from Vienna in June 1997, Antti Siirala had more than the usual collection of souvenirs in his hand luggage: the promise of a Bösendorfer grand piano! This was one of the rewards for winning the tenth International Beethoven Piano Competition, in addition to a money prize and a string of concert fixtures.

"It may sound a bit crazy, but I actually think of myself more as a composer than a conductor. It just so happens that the conducting side has outweighed the composing," says Esa-Pekka Salonen in 1998.

The title would appear to be hooked up to the concept of “music and language”, or even “music as language”. As it happens, this summer I have got into several lengthy debates on this particular issue, so let’s continue in the same vein.

Kaija Saariaho, who settled in France in the early 1980s, spent the 1997- 98 academic year as visiting composition professor at the Sibelius Academy in Helsinki, Finland. The FMQ asked her how she felt at the end of her stay.

Brass music has its own centres in finland, though they manage to be about as far from each other in east-west terms as the country s geography will allow. The small northern Karelian town of Lieksa has for the past 18 summers hosted an annual music festival where the brasses are in the spotlight, while turku in Finland's south-western corner boasts the country s best brass instrument shop, and Turku's french horn players have also got together to found our very first natural horn ensemble. All the same, when you ask a Finnish wind player where he started his training, the answer is nearly always: 'in the Rauma boys band'.