Are you a composer considering a move to Finland, or have you recently arrived and are looking to navigate this artistic landscape? Moving to Finland can be a thrilling experience, but it also comes with many worries. In this article, composers who have moved to Finland share their personal insights and practical advice that could ease your transition and help you thrive in the Finnish music scene. From the importance of language skills to understanding the support systems available, discover the steps to establishing your voice in this cultural environment.
Maarit Kytöharju
Matthew Whittall, Canada
Coming to Finland as a student, I wish I’d known how difficult it would be to survive financially. In many countries doctoral study is supported by one’s institution, but that isn’t the case in Finland. The grant system is generous and diverse, but newcomers generally need several years in the country to be seriously considered. Having independent funds, or a marketable skill such as instrumental or language teaching, is essential.
Finnish music culture is welcoming toward students, and composer circles are warmly supportive, but establishing oneself professionally is challenging. The scene is small and deeply interconnected. New arrivals lack the lifelong networks that native Finns tend to take for granted in building a career.
As an immigrant, it’s harder to get noticed. You will face frustrating glass ceilings. So build a community around your work. Get to know your instrumentalist peers. These friends will be your earliest commissioners. Join a performing group, like a choir, and write music for them. Learn Finnish, and don’t be shy in speaking it. Swim in a frozen lake.
I didn’t know this before I came, but there are few places that are better to be a composer in than Finland.
Anna Autio
Paola Livorsi, Italy
I think there are two fundamental steps for a composer (or generally, for an artist) to take to be able to work in Finland: learning one of the country’s official languages and getting a degree in Finland. When I moved to Finland I took the first step, but it took me much longer to take the second one. Looking back, I realise that doing it earlier would have made things easier – not only in building trust in my work but also in establishing valuable networks within the music field.
Back in 2001, the institution that provided me with the most information and support was the Society of Finnish Composers. At that time, many courses at the Sibelius Academy were still conducted in Finnish, which posed challenges for international students. Thankfully, this has changed, as it takes a significant amount of time to gain fluency in Finnish. Overall, I think it’s essential for a composer to engage with the society around them, especially with the music community they’re working in and with. Studying in a PhD program helped me better appreciate the importance of understanding one’s broader context and the value of peer networks.
Julius Töyrylä
Sid Hille, Germany
I’m the improvisational type and have always been ready to jump into situations without knowing much beforehand.
So, when I moved to Finland for love in 1994, I didn’t actually know a whole lot about the country.
Luckily, my partner and her family helped me navigate the bureaucratic processes (like getting a social security number and opening a bank account). I quickly landed a job as a teacher at the Central Ostrobothnia Conservatory, where the staff helped me out with things like tax returns.
However, it took six years before I even thought about applying for artistic grants. As an immigrant, I somehow felt I wasn’t entitled to them, even though I already had some artistic credentials.
The second grant I applied for was successful: it was a working grant that allowed me to take a sabbatical. With that support, I composed a concerto for trombone and jazz orchestra, which later went on to win an international composition competition in Italy.
Through that project, I also learned that I could apply for funding to cover the cost of transcriptions (back then, I was still handwriting all my scores and parts), and only after the premiere and radio broadcast did I realise I could have applied for support from Teosto to promote Finnish music (at that time, they offered something called “score support”) – if only I’d known to ask.
Maarit Kytöharju
Mioko Yokoyama, Japan
In Finland, you will meet truly warm people who love the arts. If you wish to stay, learning Finnish is essential. Study it diligently – four hours a day, if possible – even though Finns speak fluent English all over the country. This way, you will not only be able to understand the culture more deeply, but you will also be able to take part in casual conversations with locals.
Many young Finnish composers play key roles in organising concerts, festivals, panel discussions, associations, etc. If you become a fluent Finnish speaker (a long journey – one I haven’t fully completed myself), you might be able to participate as actively as your peers. In addition, although much information is available in English, meetings of The Society of Finnish Composers and other valuable workshops are generally conducted in Finnish. Knowing the language will help you access essential information.
If you are from outside the EU like me, you will most likely spend a considerable amount of time worrying about renewing your residence permit. It is crucial to regularly check the immigration office’s website, as requirements and procedures can be change frequently.
Mimmi Helkiö
Þorkell Nordal, Iceland
Living and working in Finland as a composer has largely been a positive experience. I moved here before studying at the Sibelius Academy, and even then, I had opportunities to have my music performed through organisations like Korvat Auki (“Ears Open”) and by a few musician friends. However, when the pandemic struck, the only way I saw to keep growing as a composer was to start formal studies. During my time at the academy, my network expanded considerably, as many school projects involved collaborating with professional musicians.
The standard of musicianship here is very high, and while musical aesthetics often lean towards the conservative, composers have the freedom to choose their own paths. Many musicians are keen to work with composers and are generally open and adaptable in interpreting different styles.
In Finland, securing funding for artistic projects can be challenging due to the large number of artists and strong competition. However, there are numerous organisations and foundations that offer grants. This means that, even if a proposal is rejected, there’s always a chance of finding support elsewhere.
Pilar Miralles, Spain
I came to Finland about four years ago to pursue my master’s studies in composition at the Sibelius Academy. My choice was motivated by the legacy of great composers who have come from here, the high quality of Finnish arts education, and the opportunity to continue with artistic research afterward (which I’m now doing as a doctoral student!).
If I could go back to that first year, I would definitely have started learning Finnish from day one. It’s not easy to integrate socially and professionally when speaking only English (and Finnish is a beautiful language with a wealth of wonderful poetry!). Knowing the language would also have made collaboration smoother on many projects, even though Finland’s arts scene is remarkably diverse and international.
Overall, I think studying in Finland really gives you the space to branch out – whether by starting your own projects, networking with artists outside the university, or integrating yourself into this country’s incredibly rich artistic community. I could have started doing all of this much earlier than I did, so I would encourage any newcomer to be bold: connect with other, share ideas with them, and learn from them from the start.
Chen Ling
Juan Carlos Vasquez, Columbia
First, the working grant system here is exceptional – a model of artist support that many countries could learn from. These grants provide invaluable financial stability, allowing composers to focus on their craft without constant financial stress. However, they are highly competitive. I wish I had understood the importance of honing my grant-writing skills before arriving; dedicating time to this often-overlooked aspect of a composer’s career could have significantly smoothed my transition and opened doors more quickly.
Secondly, I’ve consistently been pleasantly surprised by how approachable people in Finland’s cultural institutions are, from the large organisations to the smaller ones. There’s an openness that goes beyond what I’ve encountered elsewhere. I wish I had been bolder in reaching out right from the start. Whether it’s proposing collaborations, sharing ideas, or exploring potential projects, don’t hesitate to make those connections – the worst that can happen is a polite “no,” but more often than not, you’ll find open ears and exciting opportunities.
Adina Dumitrescu
Adina Dumitrescu, Romania
When I first moved to Finland, I didn’t see the possibility of having a career as a composer here. I came for family reasons, and my personal dream was simply to compose music. I won’t deny that, now and then, I indulged in a fairytale where musicians might stumble upon my work hidden away in the woods and express a desire to play it. It was a rather naïve thought, but knowing my own challenges with networking, I understand where it came from.
Over time, with initial support from composers Tapio Tuomela, Jouni Kaipainen, Pekka Jalkanen and musicologist Timo Leisiö – and later from musicians Elisa Kerola and Mikko Raasakka – I started to see Finland as a place where art and culture are genuinely respected and supported. Despite some challenges related to my age, having completed my musical education elsewhere, and lacking an established position in the Finnish music field, I set out to learn from scratch how to apply for funding for concerts and composing. And it worked.
Above all, the most important thing is to trust your own voice. That, more than anything, is the strongest solution to any challenge.
Artikkelikuva: Pilar Miralles © Giang Tran
Artikkeli on julkaistu myös Kompositio-lehdessä 2/2024.