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Finns have long had a deep affinity for music of Russian origin. Perhaps that says something about the Finnish mental landscape or “national psyche”. But it should also be noted that the status of Russian music in Finland has fluctuated over time and according to political circumstances – musical trends echoing trends in society at large.

"...it’s another cross-country ramble, concerned more with the detail of the surrounding vistas than any ultimate goal, but even as it takes its time to unfold, its casual strength, flaring up as unpredictably as coastal weather, holds the interest."

"Traditional, academic criticism is giving way to a more collective and democratic form of criticism: we are today perhaps more interested than ever to learn what other people think of their musical experiences and how they choose to express their thoughts."

"Tuomo’s sound has triumphed through three albums now, and on the fourth, released in January 2014, it’s time for a new direction. Tuomo finds that in retro that is a step more recent."

The main theme of the first ever FMQ magazine in 1985 was the Kalevala. In the issue composers and researchers like Pekka Lounela, Eero Tarasti, Erkki Salmenhaara, Heikki Laitinen and Olli Kortekangas approached the epic from varying points of view. Estonian composer Veljo Tormis (1930–2017) wrote in his column how the Kalevala has influenced his work.

Historical research very often starts with the researcher consulting archives. Finland has a wide variety of libraries and archives with material on a wide range of subjects, including Sibelius, church music from the Middle Ages, folk music and popular music.

Soprano Soile Isokoski, one of Finland’s internationally most celebrated singers, has returned to her roots and begun a new chapter in her life. As of this year, her calendar features teaching and recitals.

"Released by Dave Stapleton’s Edition Records, In Cinema is by far Oddarrang’s strongest album. It is both imaginative and accessible and, despite at times being just a bit serious, a joy to listen to."

Although still only 28, Esa-Pekka Salonen probably needs little introduction for anyone with even a moderate interest in classical music, since he has already gained what is known in the jargon of concert programmes as “an international reputation” for his conducting work. In this article, however, we take a look at the still small, but not insignificant output of Salonen the composer. When Esa-Pekka Salonen looks in the mirror, does he see a conductor or a composer looking back at him?