Tytti Arola

The professional profile and operating environment of Finnish composers of classical music have become increasingly international at a rapid rate in the past three decades. Back in the day, few composers spent extensive periods of time abroad, and any trips they did take were mainly for study or for inspiration and did not necessarily involve immersion in the local music scene. This started to change in the 1990s, as the Finnish music industry began to integrate into the international music industry.

In April 2018 the Tampere Biennale festival of contemporary Finnish music will highlight “free radicals”. Bringing together contemporary music enthusiasts and professionals, this year’s Biennale showcases artistic freedom, fringe art, artistic interaction and a record number of new works.

The huge tide of humanity that almost overwhelmed the 2017 NMD was also its triumph: a characteristic gift from London, European capital of creative curiosity and of the big crowd.

In 1980, the Nordic Music Days were held in Helsinki but with some non-Nordic guests at the party: a deputation of composers from Great Britain. It has taken us Brits nearly four decades to return the favour, but in September 2017 we will do so in some style as the entire four-day festiva is transplanted to London.