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"It’s enough to say 'this is Sanna' because that means, as ever, a beguiling and compulsive musical journey."

Progress is all about trying out new things, as every forward-thinking artist intrinsically knows. Nevertheless, a case could be made that it is not enough if only the vanguard embraces the unknown. Perhaps all could take a page out of Pepa Päivinen, Janne Tuomi and other open-minded musicians’ book.

Ville Matvejeff is one of the most successful classical musicians in Finland today. He performs as a conductor and pianist around the world, he is artistic director or musical advisor at festivals, and he has composition commissions lined up for several years to come. His career is exceptionally diverse and wide-ranging.

Estonian musicologist Heli Reimann has come a long way, from a country village in Soviet Estonia via Florida to the University of Helsinki. As a musician and a scholar, she immersed herself in Estonian jazz culture in the Stalin era, delving into the reminiscences of musicians of the time and their underground jazz parties.

In the academic world, Finland boasts a high level of expertise in all things Russian. Over the past decade, musicologists too have begun to show an increasing interest in our eastern neighbour and above all in its history.

Have the legendary Värttinä produced their best ever album after over 30 years together? Viena, their thirteenth studio album, marks a return to their roots which grew out of the excitement of visits back to Karelia to hear, and be inspired by the last surviving runo singers.

Bram van Sambeek presents two valuable additions to the bassoon repertoire. Kalevi Aho wrote his concerto for Bence Bogányi in 2004, while Sebastian Fagerlund’s concerto Mana (2014) was tailor-made for Sambeek himself.

Pianist Iiro Rantala's new trio has already been called the Super Trio, and with stateside dweller Peter Erskine on drums, in addition to Swede Lars Danielsson on bass, the claim seems reasonable.

For those interested in labelling, Oddarrang could easily be lumped in with so-called post-jazz bands if only they relied solely on meandering and moody soundscapes. Oddarang haunts the listener for a long time.