Harri Wessman at 75 (No. 1-2024)
Roope Mäenpää – a versatile talent (No. 4/2023)
Géza Szilvay – the taming of the violin (No. 3/2023)
Focus on Kalevi Aho (No. 2/2023)
Seven Questions for Mikko Heiniö (No. 1/2023)
Timo Alakotila combines modern and traditional musical languages (No. 4/2022)
Seven questions for Lara Poe (No. 3/2022)
Jyrki Linjama – a composer exploring fundamental questions (No. 2/2022)
Making women’s voices heard (No. 1/2022)
Seven questions for Žibuoklė Martinaitytė
 (No. 4/2021)
Die Zaubermelodika premieres at the Komische Oper Berlin (No. 3/2021)

Nature in music (No. 2/2021)
Joonas Kokkonen centenary (No. 1/2021)
Antti Auvinen’s turbocharged world of sound (No. 4/2020)
Notes from our composers (No. 2/2020)
Seven questions for Matthew Whittall (No. 1/2020)
Lotta Wennäkoski: exposed to reality
 (No. 4/2019)
Seven Questions for Jyrki Linjama (No. 3/2019)
Esa Pietilä – modern music with room for improvisation (No. 2/2019)
Kalevi Aho on the threshold of his eight decade
 (No. 1/2019)
Armas Järnefelt – and all-round Romantic (No. 4/2018)
The diversiform musical ethos of Tapio Tuomela (No. 3/2018)
An interview with Kimmo Hakola (No. 2/2018)

Creative balance between tradition and innovation in Mikko Heiniö’s music (No.1/2018)
Seven questions for Paavo Heininen
 (No. 4/2017)
Olli Kortekangas: It’s not art’s job to say who is right or who is wrong
Harri Vuori in a world of myth and fantasy (No.2/2017)
Veljo Tormis – in the fields of epic (No. 1/2017)
Einojuhani Rautavaara in memoriam (No. 4/2016)
Seven questions to Harri Wessman (No. 3/2016)
Fences no obstacle for music’s gentleman (Kirmo Lintinen) (No. 2/2016)
Einar Englund – classicist and classic (No. 1/2016)
The Sibelius piano miniatures (No. 4/2015)
The Return of Joy – Matthew Whittall
 (No. 3/2015)
Kari Tikka’s opera presents Luther both as a reformer and controversial individual (No. 2/2015)
Olli Kortekangas – seeking the connection between feeling, words and music
 (No. 1/2015)
Lotta Wennäkoski paints sumptuous worlds of shimmering timbres (No. 4/2014)
World premiere of an Ibsen opera by Reinvere (No. 3/2014)
Juhani Nuorvala – a portrait (No. 2/2014)
Seven questions for Mihkel Kerem (No. 1/2014)
Composing a way of life for Einojuhani Rautavaara (No. 4/2013)
Veli-Matti Puumala – a master of time (No. 3/2013)
Seven questions for Pasi Lyytikäinen (No. 2/2013)
Paavo Heininen – creation, variation, simulation (No. 1/2013)
Mikko Heiniö’s unusual concerto hybrids (No. 4/2012)
Hannu Pohjannoro – a creator of exquisite worlds of timbre (No. 3/2012)
Concertos for all orchestral instruments (Kalevi Aho) (No. 2/2012)
Women in the maelstrom of history (Purge) (No 1/2012)
Armas Järnefelt – A Finnish Wagnerian (No 4/2011)
Victoria Yagling in memoriam (No 3/2011)
Erik Bergman – a bird that flew in the front (No 2/2011)
Kyllönen’s music covers the entire emotional gamut (No 1/2011)
Olli Koskelin – a seeker of delicate timbres (No 4/2010)
Olli Kortekangas and the beauty of polyphony (No 3/2010)
Light and shade: Kai Nieminen talks about his music (No 2/2010)
Veljo Tormis – unique in many ways (No 1/2010)
Mikko Heiniö – running and composing (No 4/2009)
Seven questions for Erkki-Sven Tüür (No 3/2009)
Jyrki Linjama – a short self-assessment (No 2/2009)
Kalevi Aho: the man behind the music (No 1/2009)
Always an element of hope in Nordgren’s works (No 3/2008)
Unexpected turns and success stories (Hakola) (No 2/2008)
Inquisitive visionary composes a full-length opera (Puumala) (No 1/2008)
Tapio Tuomela, a musical triathlonist who concentrates on composing (No 22/2007)
Seven questions for Einojuhani Rautavaara (No 22/2007)
Juhani Nuorvala aims at a physical element in music (No 21/2007)
Lars Karlsson – from Romantic Modernism to Modern Romanticism (No 21/2007)
Harri Vuori, colour-painter and symphonist
 (No 20/2006)
Seven questions for Pehr Henrik Nordgren (No 20/2006)
Mikko Heiniö  The Hour of the Serpent strikes in the autumn (No 19/2006)
Kimmo Hakola and his box of magic tricks (No 19/2006)
Queen of the woodwinds in fine fettle (No 18/2005)
Contrabassoon into the solo spotlight (No 18/2005)
Colourstrings method continues to inspire (No 18/2005)
Connoisseur of the human voice (Olli Kortekangas) (No 17/2005)
Superb musicianship at the core of Yagling’s music
 (No 17/2005)
Back to the future – the modern world of Melartin’s songs (No 16/2004)
Estonian Calendar Songs and Nature Pictures: two major works by Veljo Tormis (No 16/2004)
Paavo Heininen – a complex, timeless modernist (No 15/2004)
Susanna Mälkki: interpreting Puumala (No 15/2004)
Cultures meet in the music of Herman Rechberger (No 14/2003)
Humanism as symphonic fuel  Kalevi Aho’s music reaches out into new territories (No 13/2003)
Erkki Salmenhaara in memoriam (No 12/2002)
Tommi Kärkkäinen – There’s more to life than composing (No 12/2002)
Some reflections on a symmetrical year (No 12/2002)
Solo songs by Finnish composers (No 11/2002)
Kimmo Hakola, music dramatist par excellence (No 11/2002)
The voice of experience on The Last Temptations (Joonas Kokkonen) (No 10/2001)
Erik Bergman – surrounded by magical sounds (No 10/2001)
Uuno Klami: The view from the podium (No 9/2001)
Veli-Matti Puumala’s music – an avalanche of sound (No 9/2001)
Usko Meriläinen, a steady reformer (No 8/2000)
Olli Kortekangas – a vocal composer turning towards orchestral music (No 8/2000)
Pluralism flourishes in the musical garden of Mikko Heiniö (No 7/1999)
The Age of Dreams (Herman Rechberger, Olli Kortekangas, Kalevi Aho) (No 7/1999)
Einojuhani Rautavaara. Avant-gardist, mystic and upholder of values (No 5/1998)
A passion for texts – the many-faceted reality of Paavo Heininen (No 4/1998)
The symphonic music of Lepo Sumera (No 4/1998)
Erkki-Sven Tüür: Converging collisions (No 4/1998)
Three choral composers, three distinctive sounds (Erik Bergman, Einojuhani Rautavaara, Veljo Tormis) (No 3/1997)
Pehr Henrik Nordgren – transformation as a means of musical expression (No 2/1997)
New gems – first publications of works by Jean Sibelius (No 2/1997)
Einar Englund – a musical craftsman (No 1/1996)
Insect Life by Kalevi Aho (No 1/1996)