music&money

For an artist, art is a means of making a living. But what are the revenue streams of musicians, composers and music makers these days, and how are they distributed among various artists and groups? What are the prospects of continuing to make a living in music in the post-pandemic future?

“The coronavirus support measures allocated to the arts and culture sector in Finland have been modest by Nordic comparison and were not based on compensation of losses as would have been appropriate but on the grants system that is in place under normal circumstances. Also, they only offer solutions for the immediate needs caused by the crisis. Further anxiety is added by the fact that there are substantial cuts to the arts looming in the central government budget in the near future, and what will happen beyond 2024 is anyone’s guess,” writes Kaisa Rönkkö, Executive Director of Music Finland.

“From the viewpoint of direct artist funding, art politics since the 1990s recession have failed. The sector’s growth has not been matched by increased public funding.” Composer Pasi Lyytikäinen reflects on the progress and future views of composers’ livelihood in Finland.

Funding of the arts is a hot topic in public debate in Finland just now. We invited five people thoroughly familiar with music funding to sit down and talk about how the funding of art music in Finland could be maintained on a stable basis. Bureaucratic though their titles may sound, they expressed themselves with clarity and addressed issues relevant for music professionals, consumers and decision-makers alike.

Art does not just magically appear in the world as a gift of grace that comes from divine inspiration. It is created through persistent and devoted work. This work is always funded by someone who has their own expectations of what to receive in return for their support.

A study published by the Foundation for Cultural Policy Research Cupore in 2013 investigated the importance of central government transfers for Finnish orchestras, using as its research material the financial statements and annual reports of orchestras and a survey carried out among orchestra managers.

Festivalisation has been a trend in Finnish musical life since the 1960s. As the number of festivals increase, more and more music events receive government aid, for Finland takes equality seriously. Public funding's share of festival budgets is on the decline, however, and it is not easy to find compensation in the form of support from private companies.

There are probably more orchestras, music schools and colleges and music festivals in Finland per head of population than in any other country in the world. Crucial to the development has been the Finnish Theatres and Orchestras Act, in which the state guarantees a certain number of person years for orchestras every year. The subsidy has not kept up with actual trends in costs, but the situation is soon to improve.

“Without an artist grant, I would not be able to work as intensely as I do. I am very grateful for the existence of this system and for being admitted into it. This has enabled me to do my own thing, and I am trying to use my time as well as I possibly can,” says trumpet player Verneri Pohjola, who released his new album this spring.

Helena Juntunen, one of Finland’s most sought-after opera singers, appears in a variety of roles and concert productions with many ensembles, but her busy freelancer’s schedule will be replaced by maternity leave in October.