gender balance

“If we wish to experience music as a genuinely questioning, searching, challenging and revitalising art form, should it not reflect the diversity of the world around it much better?” Kimmo Korhonen interviewed two proponents of diversity and plurality in music: a researcher, Docent Juha Torvinen PhD from the University of Helsinki; and a musician, violinist Linda Suolahti, artistic director of the Musequal festival.

Whose are the voices we hear at concerts? Which stories are conveyed through art music, and which are not? Questions like this are becoming increasingly common, and now we are starting to find answers to them. The Helsinki Philharmonic Orchestra is engaged in a project titled HUOM, History's Unheard Orchestral Music. The project is reviving orchestral music written by Finnish woman composers in the 19th and 20th centuries, thereby re-evaluating our cultural history, revitalising our concert institutions and fostering new collaboration between music scholars and performing musicians.

Composer Alexandra Zheleznova-Armfelt (1866–1933) was a member of the Finnish community in St Petersburg and created her career outside Finland itself. A review of her life and work adds to our understanding of the cosmopolitan nature of our musical history and also lends a perspective on cultural life in St Petersburg and in the Baltic Sea region in general around the turn of the 20th century.

Ida Moberg (1859–1947) wished to command ensembles that produced a large sound while also touching human emotions: Most of her output is for orchestra or choir or both. The topics of her works largely has to do with individual’s spiritual metamorphosis.

Folk music through a feminist perspective has been a thing in Sweden for several years, but Finland’s first series of feminist folk music concerts is only now taking place. Singer and journalist Amanda Kauranne and her team explore difficult topics and taboos of womanhood in four concerts.

Issues of gender balance, diversity and cultural appropriation have become increasingly prominent in many areas recently, and art music is no exception. Lauri Supponen discusses these issues, using certain Nordic contemporary music festivals and projects as case studies.