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Forty years have passed since FMQ was launched in 1985 as the Finnish Music Quarterly. In this column, editor-in-chief Lasse Lehtonen reflects on the past decades – and looks ahead to the future.

The history of accordion music in Finland is often considered just as part of the history of Finnish music. But if we look beyond the national perspective, we find what a cosmopolitan instrument the accordion actually is. This is the story of how accordion music was imported, adopted and ultimately domesticated in Finland.

The accordion’s image in Finland has constantly been renegotiated by performers, composers, instrument makers and audiences who have recognised its potential in a variety of settings. Each of its many roles contributes to a vibrant mosaic. But how has this mosaic been compiled, and what does it look like in Finland today?

Finnish accordion music spans a wide gamut from interpreters of Baroque music to nimble-fingered entertainers to earthy folk musicians. Underlying them all in one way or another is the history of the accordion as an instrument of the common people for dancing.

Two-row accordions, concert accordions, quarter tones and live electronics – Finnish accordion artists of our time explore a broad spectrum in their respective genres. Our playlist journeys from traditional music to pop influences, from classical to experimental, and back again.

What connects an Icelandic rapper, Ukrainian-Polish vocalists, Estonian Eurovision stars, and the forgotten soundscapes of Karelian villages? For the accordionist Anne-Mari Kivimäki, the answer lies in a deep love for collaboration and a constant dialogue between history and innovation.

The accordion is poised to redefine its place in the musical world – its golden era is only just beginning. In this column, composer and accordionist Veli Kujala discusses the resurgence and evolution of the classical accordion.

How can music bridge the divide between two historically intertwined cultures, the Karelians and the Skolt Sámi? This is the question at the heart of the project ‘From Karelia to the Skolt Sámi Lands,’ a multidisciplinary exploration that highlights shared traditions, memories, and a renewed cultural connection.

Composing is often thought of as a lonely pursuit where a piece of music gradually takes shape in the mind of a solitary creator. But what if a work has two composers who also have a strong personal bond? In this column, Sanna Ahvenjärvi and Tapio Lappalainen, joint recipients of the distinguished Teosto Prize, discuss the challenges, rewards and human aspects of co-composing music.