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An evening at Helsinki’s Kaapelitehdas (Cable Factory) unfolded as more than a concert. Juhani Nuorvala guided us through a kaleidoscope of sound. Charlie Morrow writes as Corno di Bassettino in the style of George Bernard Shaw’s nom de plume, Corno di Bassetto.

Round-numbered anniversaries of composers and institutions offer an invaluable uplift amid the harsh competition for attention, but organisers and musicians should always be aware of the motivations behind celebrations and what they seek to promote.

What is the difference between a demonstration and an opera performance? The question arose as I sat in Helsinki’s Kansalaistori (Citizens’ Square) watching an opera performance and a demonstration vying to be heard.

Watercolour-like shimmering timbres, sounds resonating in the body and addressing the past. On recent recordings, senses blend as we can see and feel sound in a landscape, as a landscape. Double bass and viola take centre stage.

One of Finland’s leading jazz accordionists – and its only active Braille music teacher – says that blind musicians still face tough challenges despite technological advances. Joose Ojala is blazing a unique path as a composer and accordionist in a world designed for the sighted.

What happens when a crisis term escapes its usual domain and enters the heart of a nation’s cultural conversation? This text traces how huoltovarmuus moved from warehouses and energy grids to theatres and artist studios, reshaping public discourse and raising urgent questions about the future of culture in a security-focused society.

In this article, I summarise my creative activity as a balancing act between chaos and order. At its core are opposing forces whose struggle is at once painful and ecstatic and an endless source of inspiration. The relationship between chaos and order varies in my media music and arts projects. I also consider how various musical traditions relate to my writing from the perspective of chaos and order.

On her most powerful album yet, Päivi Hirvonen sings about the damage we’re doing to our planet. Simon Broughton talks to her to learn more.

Three is a magic number for balancing improvisational agility and compositional sturdiness, as shown on three recent jazz-inflected trio albums.