The monograph comprises six separate studies relating to Finnish orchestral history. The studies deal with 1) the early phase of orchestral activity in Finland from 1600-1700, 2) some of the leading figures in the Finnish orchestral tradition (Robert Kajanus, Georg Schnéevoigt, Tauno Hannikainen), 3) three conflicts relating to the orchestra in the Finnish capital, 4) the image of Finland created abroad by the Finnish orchestras, 5) the development of orchestral activity from its beginnings to the concert institution it has become today and 6) the concert hall debate in Finland's two capitals (Turku, Helsinki) over the past two hundred years. The studies are mainly concerned with the two main Finnish orchestras, the Helsinki Philharmonic Orchestra, which is the oldest professional orchestra both in Finland and the Nordic countries (founded 1882), and its sister ensemble, the Finnish Radio Symphony Orchestra (founded 1927). The publication of these studies marks the bicentennial of the
Finnish orchestra, which was variously celebrated in spring 1990. Orchestra! activity in Finland dates back to the founding of the Turku Musical Society in 1790 which, in turn, occured on the birthday of Gustav III, king of Sweden (and Finland). In fact, the history of the orchestra in Finland is considerably older than this with a rather vigorous musical life starting up in Turku Academy shortly after its foundation in 1640. From a European perspective the position of orchestral music in Finland today is very good indeed: Finland not only has one of the world's densest networks of institutions for the study of music but also one of the world's densest networks of orchestras. Nonetheless, orchestral activity has often been in crisis - as indeed is the case at present. Surprisingly, the ingredients of crisis have had much in common over the years: the materia! prerequisites for orchestral activity have adversly affected those of the musical and spiritual dimensions with a corresponding effect on the level of artistic activity. Running throughout these studies, then, is a singe "motif": the crisis which orchestras, in performing their artistically and socially important work over the years, have found themselves in through no fault of their own, and in which they find they are continually required to justify their existence. Each study examines the origins of the crisis in question, its background, those involved and, finally, the strategies for solving it. In describing this process the aim has been to illuminate some of the most interesting and, from the viewpoint of development, most important musical trends in Finnish orchestral history.
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