The Special Issue 3/2024 Editorial: Bridging time, sound and genre – Early music, fluid and versatile

How can one even attempt to define what “early music” encompasses today? The advent of the historically informed performance movement in the 1960s firmly anchored the concept in the past, as an attempt to rediscover and preserve historical sounds as they might have once been played centuries ago. Yet, this pursuit of “historical authenticity” simultaneously functioned as an act of rebellion, contesting and negotiating the values and boundaries of the classical music scene. Early music is undoubtedly a fitting arena for such negotiation, as it offers a rich space for reimagining musical practices. More importantly, this seemingly “early” music has always been deeply rooted in contemporary discourse.

It is, therefore, only natural that much has changed. To provide some perspective: as Kari Turunen astutely observed in his conversation with Tuuli Lindeberg in this special issue, the historically informed performance movement emerged at a time when sixty years had passed since Sibelius conducted the premiere of his violin concerto in 1904. Given the profound changes of those sixty years, it is hardly surprising that the following sixty years, from the 1960s to the 2020s, have seen equally significant transformations.

Early music has moved notably closer to the mainstream than it once was. The pursuit of “historical authenticity” now feels like a relic of the past, and the use of early instruments has become commonplace, not only in Baroque performances but also in contemporary music and across other genres. Early music – broadly defined – is anything but static. It stretches, bends, and reinvents itself in dialogue with a growing array of genres, traditions, and practices. This issue explores how early music and its practices thrive at these various intersections today.

Several ensembles and musicians have long, though quietly, been reshaping the boundaries between early music and folk music. Musicians such as Ilkka Heinonen and Aino Peltomaa show that vital elements of folk traditions share much in common with the core of early music. Expanding across geographical and cultural boundaries, we find Italian-Indian artist Krishna Nagaraja, who skillfully blends Nordic polskas with early music and beyond, demonstrating the fluidity of his many influences.

This fluidity is also evident in the myriad ways early music has influenced the classical music scene at large. For choir conductor Kari Turunen and soprano Tuuli Lindeberg, early music, while deeply rooted in historical knowledge, pushes the boundaries of classical vocal traditions and the role of a vocalist. It expands the possibilities of musical expression and fosters a deeper sense of connection with other musicians and audiences. These observations clearly intersect with contemporary music – a theme further explored in Olli Virtaperko’s column. For Virtaperko, Baroque instruments represented an alternative to the all-encompassing grip of the Romantic orchestra, leading to sonic and musical explorations that range from performances of Frank Zappa on period instruments to contemporary compositions. Our record review covers a wide spectrum of recent releases, and our playlist provides a handy way to familiarize oneself with the music discussed in this special issue. An archival article from 2012 offers a fascinating overview of the Helsinki Baroque Orchestra, a pioneering and still-active ensemble. This special issue illustrates the dynamic, transformative nature of early music and invites us not only to listen to the past but to imagine new futures.