FMQ turns forty
In the mid-1980s, Finnish music and musicians in the classical music field were enjoying an international boom of extraordinary proportions for a small country. A younger generation of conductors, composers and performers – for example, think of Kaija Saariaho (1952–2023) and Esa-Pekka Salonen (b. 1958) – were gaining unprecedented international recognition. Unsurprisingly, these successes were widely celebrated in Finland’s mainstream media.
Within the music field, however, opinions were somewhat divided. Many felt that the richness and diversity of the Finnish music scene deserved greater international attention. Enter Ellen Urho (1920–2018), Rector of the Sibelius Academy, who proposed a bold initiative: why not launch an English-language publication to promote Finnish music to global audiences? At the time, Finland already had similar publications for architecture and literature, and the international momentum in music made the timing ideal for such a project.
This vision led to the birth of an English-language magazine designed to provide accurate, engaging, and timely insights into Finnish music. FMQ – or to be more precise, the Finnish Music Quarterly – published its first issue in May 1985. As Antero Karttunen (b. 1936), FMQ’s inaugural editor-in-chief, wrote at the time:
Music may travel better than words, but nevertheless it is difficult for a small country to get its achievements on display in the great music centres of the world. It sometimes feels as though Finnish music only lives abroad through Jean Sibelius and a handful of star soloists and conductors. The creation of an overall image of our musical life for readers outside Finland is no easy task.
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And so began FMQ’s journey forty years ago – a journey that happily shows no signs of ending. As a specialised publication free from commercial pressures, FMQ has the unique opportunity to stand out in today’s crowded media landscape by spotlighting musical phenomena that might otherwise be overlooked in mainstream outlets. This mission feels even more vital today than it did in 1985.
But what has changed over the decades? Looking back through FMQ’s archives, I was struck by how much of the original concept remains intact. As Karttunen stated in his first editorial: ‘We shall come to cover topics from the fields of classical music, folk music, and light music alike’ (“light music” being a direct translation of one of the Finnish terms for popular music). Such a commitment to representing a wide range of genres – somewhat surprising in the 1980s, when discussions of “Finnish music” were largely dominated by classical music – has remained a guiding principle that continues to define FMQ today.
That said, one might question how faithfully the early issues embraced this diversity. For instance, while the inaugural issue included a feature on Finland’s national epic, the Kalevala, its primary focus was on classical music, with just two articles dedicated to folk and jazz.
In this regard, change has been significant. Over time, FMQ has increasingly sought to reflect the broad spectrum of music and culture in Finland. Today, we aim to highlight not just narrowly defined “Finnish music” but the plurality of “music in, from and beyond Finland”, by exploring topics relevant not only locally but also globally. This evolution mirrors not just a shift within FMQ but a broader transformation in how we understand and engage with culture in an interconnected world.
As Karttunen’s editorial suggests, the Finnish Music Quarterly was originally conceived as a platform to promote Finnish music and musicians. While this promotional aspect may still implicitly exist to some extent, it has become far less central to our mission at FMQ.
Since 2015, FMQ has been published by Music Finland, an organisation dedicated to supporting, promoting, and exporting Finnish music internationally. Paradoxically, this arrangement has freed FMQ from any implicit promotional obligations, allowing us to focus on more nuanced and in-depth explorations. Our work is supported by the Society of Finnish Composers, the Sibelius Academy, and the Finnish Musicians’ Union, ensuring a diverse range of perspectives from across the music sector.
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Looking back over these four decades, then, it’s clear that FMQ’s journey has been shaped by the same core values that inspired its creation: a passion for music, a commitment to diversity, and a belief in the power of storytelling to bridge cultural divides. As the world around us has changed, FMQ has adapted while staying true to its mission of offering readers meaningful insights into the music and musicians that enrich Finland’s cultural landscape.
Of course, change is a constant, and this column is not meant as a mere retrospective. As FMQ celebrates its fortieth anniversary, we are also looking forward to significant developments.
In 2023, we made the decision to cease print publication, recognising that most of our readers now engage with our content online. This shift has allowed us to break free from the constraints of print and reimagine FMQ as a digital platform. A key milestone in this transformation will be the launch of our redesigned website, tailored specifically to the needs of an online publication.
Thank you for being part of this journey. We hope you will continue to join us as we chart FMQ’s next chapter!
Lasse Lehtonen, PhD, is the editor-in-chief of FMQ and holds an adjunct professorship (title of docent) in Asian Studies and Musicology at the University of Helsinki.
Featured photo: the cover of the inaugural issue of the Finnish Music Quarterly (1985)