Usko Meriläinen

The Tampere Biennale 2020, a contemporary music festival scheduled for April, has been cancelled to prevent the spread of the coronavirus. As a substituting programme, the Biennale and the Finnish Broadcasting Company Yle will organise a radio festival titled Tampere Biennale 2.0. Composer Jennah Vainio, the artistic director of the Tampere Biennale, spoke to FMQ about the scheduled programme of the event 2020 and about her work as a composer.

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 Tampere Biennale celebrates its 30th anniversary this year. Launched in 1986 and held in April in even-numbered years, its profile is that of a domestic review of contemporary classical music, with commissioned works and premieres. It alternates with Musica nova Helsinki, which is more international in content and is held in odd-numbered years.

One afternoon in March 1997, while the eyes of the world were trained on the official residence of the Finnish President where Presidents Clinton and Yeltsin were engaged in dialogue, pianist Liisa Pohjola and composer Usko Meriläinen were ensconced in a Helsinki restaurant only a mile away for a cosy chat about music and performance.

"In the main, a composer’s work consists of listening 'inside the self' and the imagining of sonic phenomena in the privacy of one’s own cell."

The history of electronic music in general is yet a short one, and affords an interesting angle on the passing of time. Experiments made 40 or 50 years ago may seem to us rather primitive now, but how will the high technology of today look to those working in this field fifty years from now?