Annemarie Åström

Sibelius Academy, DocMus

Professor Tuomas Haapanen: the Grand Promoter of Violin Education in

Finland

Introduction

The challenging art of violin playing has been held in high esteem in Finland for well over a

century. Numerous artists, patrons and music educators have contributed to the advancement of the

quality of and interest in violin playing in Finland over decades. However, one name seems to stand

above the others because of his outstanding contribution to furthering violin playing and violin

education in Finland: Professor Tuomas Haapanen, who himself has been both a performing artist

and a highly appreciated teacher for a long time, and has an exceptional insight into and knowledge

of the art of violin playing, its traditions and future perspectives in Finland. In addition, he has held

the post of Rector both at the Turku Conservatory and the Sibelius Academy. Furthermore, he has

been following the development of musicians from several countries while serving either as

chairman or a member of juries in numerous national as well as international music competitions. In

addition to his knowledge and competence, Professor Tuomas Haapanen is also respected as a

warm-hearted and modest person.

The purpose of this article is to explore Professor Haapanen’s views and thoughts about violin

education, music competitions and directing a music university. This work could rather be called a

profile about Professor Tuomas Haapanen than an academic article. From my point of view, it is

important to get to know the thoughts and ideas of a person, who has had such a great influence on

developing the Finnish music life for more than 60 years and encouraging young violinists and

musicians, in both Finland and abroad. However, no extensive article has been written about

Professor Haapanen before, at least not by a person who has known him closely for many years. As

his former student, I wanted to get to know Professor Haapanen even better and to share all the

great knowledge and ideas. The article is mainly based on my extensive interview with Professor

Haapanen on February 9th, 2006 at the Sibelius Academy, followed by further e-mail interaction in

August 2006 with him and a meeting in January 2008 at Tuomas Haapanen’s home. The first

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interview at the Sibelius Academy was recorded. I have also interviewed by e-mail several former

students of his in addition to persons who have been working closely with him.

The structure of the article is as follows: in Section 1 will first present Professor Haapanen’s

biographical background, which will be dealt with quite extensively in order to give a more detailed

insight into Professor Haapanen’s ideas and perspectives. Section 2 deals with Tuomas Haapanen as

a violin teacher, whereas Section 3 focuses on his experiences with music competitions. Section 4

discusses his work from an administrator’s perspective. Finally, in Section 5 some conclusions and

future visions will be presented.

1 Professor Haapanen’s Biographical Background

Tuomas Jaakko Haapanen was born in Helsinki on 29 December, 1924. His father, Toivo Haapanen

(1889–1950), was an appreciated conductor and musicologist. He was the chief conductor of the

Radio Symphony orchestra of Finland 1929–1950. During his time the orchestra grew into the

proportion of a real symphony orchestra and Toivo Haapanen was very active to play new Finnish

music. He also worked as a docent and later as a professor of

musicology at the University of Helsinki. He has also written an

extensive book on Finnish music history, Suomen säveltaide (1940).

Tuomas Haapanen started his musical life by playing the piano even

though it was clear from the beginning that the violin would be his

main instrument. His father thought piano playing would give the

young boy a good basis and an understanding of music in general.

Tuomas Haapanen remembers that through his whole childhood he

listened when the Radio Symphony Orchestra was rehearsing and

giving concerts (his father was the chief conductor during these years).

“I remember that I was especially interested in looking at and listening to the violinists in the

orchestra. There were fantastic violinists in the Radio Orchestra during that time, Cronvall,

Huttunen, etc.”

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Before Tuomas Haapanen started to study the violin at the Junior Academy he had lessons with the

viola player Erik Karma1. He remembers that Erik Karma was a very nice person, but at that time he

himself was quite lazy ― he was just mostly walking around in the city. At the Sibelius Academy’s

Violin department his first teacher was Gösta Schatelowitz2. He was a very fine and cultivated

person who did not play so well himself (he was already quite old and had been playing for many

years in the orchestra), but was an excellent teacher. He goes on with his reminiscences,

“The violin lessons with Gösta were always very pleasant experiences. He was a very interesting

person who had a great all-round education”

During the Second World War Tuomas Haapanen moved together with his family to Pori, where the

broadcasting company (YLE and the Radio Symphony Orchestra) hade gone to escape the war.

There he started to have lessons with his own idol, Erik Cronvall3 with whom he continued at the

Sibelius Academy after the war. Erik Cronvall was a so-called natural talent and for him violin

playing had been very easy. Maybe because of that, he could not see the problems that Tuomas

Haapanen felt that he had in his playing. Erik Cronvall always played with a very beautiful quality.

With him Tuomas Haapanen made his diploma at the Sibelius Academy in 1948. Before he left to

Paris, he had also some lessons with Arno Granroth4.

The French Style

After the diploma and the debut concert in Helsinki (1948) Tuomas Haapanen was not satisfied

with his bow hand and technical skill. He continued his studies in Paris under Léon Nauwinck5 and

René Benedetti6 over several three-month periods. Studies in Paris with Léon Nauwinck were very

helpful in all the problems of violin playing. Nauwinck represented the old French violin school,

1 Erik Karma (1909–1982) was the leader viola player in the Radio Orchestra and a member of the Sibelius Quartet (Erik Cronvall 1st violin, Hugo Huttunen 2nd violin and Artto Granroth (the brother of Arno Granroth) cello.2 Gösta Schatelowitz was one of the violinists from The Helsinki Philharmonic Orchetstra.3 Erik Johan Cronvall (1904 Helsinki–1979 Helsinki) was a Finnish violinist and conductor. He was the first concert master of the Radio Orchestra (nowadays called the Finnish Radio Symphony Orchestra) when it was grounded 1927 and later its conductor 1953–70.4 Arno Granroth (1909 Dresden–1989 Helsinki) was a great representative of the French violin school in Finland. He had been studying in Paris with Capet, Nauwinck and Thibaud. Since 1967 he worked as a violin Professor at the Sibelius Academy and had several top violinists in his class besides Tuomas Haapanen: Leena Siukonen,Pekka Kari and Paavo Pohjola among others.5The French violinist Léon Nauwinck (1882–1970) had been studying in Paris with Lucien Capet and Martin Marsick who was a great representative of the French violin school. He was the first concert master of the Opera in Paris and worked also as a violin teacher. Many Finnish violinists as Erik Cronvall, Arno Granroth, Jouko Ignatius, Pekka Kari and Leena Siukonen have been his students. Léon Nauwinck (1882–1971) was a student of Marsick who was a great representative of the French violin school.6 René Benedetti (1901–1979) had been a student of Eugen Ysaÿe.

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reminding legendary old names like Marsick, Nadaud, Capet, Thibaud etc. In Tuomas Haapanen’s

opinion the most important qualities of the French violin school are the beauty of the sound and the

good technical quality. As Tuomas Haapanen’s student I have also recognized the French Style in

his teaching. One of his favourite comments to students just before entering the stage is: “Let the

violin sing!” I also learned a tecniqual aspect to combine stretching and position shift. We called it

with Haapanen “the parrot-system” and he told me that he had learned it in Paris.

It was rather very fashionable in those times to go from Finland to study in Paris. It started with

Arno Granroth who was a real apostle and admirer of the French style. These periods in Paris were

great experiences to Tuomas Haapanen. He visited concerts, museums, the ballet and the opera

frequently and enjoyed the atmosphere of this famous city very much.

“And all the French culture, art and literature! I had already been studying the French language

and my interest has continuously deepened.”

Tuomas Haapanen worked as a first violin tutti-player (1953–58) and as the second leader (1958–

62) in the Finnish Radio Symphony Orchestra and as the leader in the Helsinki Chamber Orchestra 7

(1951-61) founded by Paavo Berglund. During these years the Radio Symhony Orchestra’s chief

conductors were Toivo Haapanen, Nils-Erik Fougstedt and Paavo Berglund. In 1962 Tuomas

moved to Turku in order to teach there and therefore left permanent work at the orchestra.

Tuomas Haapanen has also had a very active career as a soloist and a chamber musician. He played

in an ensemble called the Radio Sextet and after Hugo Huttunen in the Sibelius Quartet. The other

players in the Radio Sextet were Erik Cronvall, Tapani Valsta, Artto Granroth, Väinö Aho and Erik

Karma. This group made several radio recordings, mostly light music, and in these recordings you

could always hear the joy of playing.

2 Professor Haapanen as a Violin Teacher: “Teaching – my true calling”

Tuomas Haapanen worked as the teacher of violin (1962–78) in the Turku Music Institute8 (later

called the Turku Conservatory) and later as a Rector (1966– 78) of the same institute.

Since 1978― he has been the violin professor at the Sibelius Academy in Helsinki. In 1990

Haapanen was retired as a professor, but he has still continued teaching and has today three students

at the Sibelius Academy.

7 The Helsinki Chamber Orchestra was founded in 1953 by the conductor Paavo Berglund. After a period of no activity, it was newly founded by the conductor Okko Kamu in 1973. Since the 1990s it has not been anymore in function.8 The Turku Music Institute was created in 1962 and it was replaced by Turku Music Conservatory in spring 1978.

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Performing for the public was never easy for Tuomas Haapanen because of his nerves. In a small

country like Finland one doesn’t often get opportunities to perform as a soloist and get experience.

Therefore since 1962 he started to concentrate more and more on teaching, which had always

interested him:

“I left the Radio Orchestra and moved to Turku, where a new Music Institute (later

Conservatory) was founded. It was Tauno Hannikainen who invited me to teach there. It was a kind

of pioneer work. I felt quite happy in Turku; the atmosphere was active and there were many

talented students there.”

Tuomas Haapanen was teaching in Turku until 1978 when he was nominated as a violin professor at

the Sibelius Academy in Helsinki. In Turku his students were Juha-Pekka Vikman, Lennart Helling,

Veikko Kosonen and many others.

“No doubt teaching has been my true calling. In fact it doesn’t differ so much from the work of

a musician, as one has to be absorbed in the work at hand and the interpretations again and again. I

really also enjoyed conducting the Chamber Orchestras of the Turku Music Academy and Sibelius

Academy. “

Basically Tuomas Haapanen’s teaching method has followed the same lines during all these years.

For instance, he has not understood at all the old-fashioned authoritarian way of teaching when the

teacher demands and the student obeys. He prefers to be a good friend with the student.

“I hope that the motivation to practise comes from inside the student and not because the teacher

has forced the student to practice.”

Naturally experience increases confidence in dealing with students. Each student is unique and

Tuomas Haapanen thinks it is important to understand the weaknesses and strengths of each person.

Because of that, it is very important to try to get to know the student very well. Tuomas Haapanen

does not have any special, secret methods in teaching. Everything is very natural and he does not try

to be something else than what he is. Each student can trust him and feel very safe being his

student.

Most of the important violinists in Finland have been studying under Professor Tuomas Haapanen.

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Pekka Kuusisto describes Tuomas Haapanen in Sibis magazine (year 2000) as a person whom

everybody likes. “Tuomas is a result of several happy coincidences: he has had a good education, he

has filtered from everything the good and the essential elements together, he is in a suitable way

open-minded, honest, sane and prudent.” For this article I have interviewed seven of Haapanen’s

previous students who have studied with him during the period of 1985―2007. These students were

Petteri Iivonen, Jaakko Kuusisto, Silja Nummi, Satu Savioja, Réka Szilvay, Laura Vikman and

Elina Vähälä. They all describe their relationship with Tuomas Haapanen as very close and

respectful. Haapanen has been more than just a teacher for them - they call him as almost their

father or grandfather. They describe his way of teaching as very planned and precise. He has a great

knowledge of different styles and technical aspects. Many of the students calls his fingerings and

bowings genial - they are very tasteful in matter of music and they just work very well also

technically because they feel so convenient for the hands and fingers. In addition, most of the

students point out his extremely preciseness in intonation. They are all very grateful to Tuomas

Haapanen that he has taught them to appreciate music in the most natural and pure way, and not to

use any artificial or special effects. Tuomas Haapanen has let each of his students to develop their

own personality.

I have been Tuomas Haapanen’s student in Junior Academy the Sibelius Academy from 1994 to

1997. I remember working with him was very regular and precise. Each time I played either an

etude by Rodé, Dont or Gaviniès or a caprice by Paganini. My repertoire of concertos and pieces

also enlarged. Tuomas was always very accurate with all the problems of the intonation. I can still

hear Tuomas Haapanen’s voice in my ears talking about the intonation “Remember to always put

the half-steps very close to each other, the c and all flat tones very low, etc…!” The atmosphere of

cooperation was pleasant, calm and respectful. I am very thankful and happy that I have had the

chance of being his student.

Professor Tuomas Haapanen’s opinions about the education of violinists

Primary Education

In Tuomas Haapanen’s opinion the violin studies should start with full effect already as a child.

Then you will get use to practice with discipline.

In the 1970’s there was a popular TV show on Finnish television called The Violin Fiddlers in

Wonderland created by the Hungarian borne brothers Géza and Csaba Szilvay. They were teaching

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young children to start to play the violin and the cello with the Hungarian Zoltan Kodaly method.

The Szilvay brothers invented their own method for beginners, the Colourstrings method9 which is

based on the Kodaly method. Along the years the Colourstrings has won a great popularity in the

whole world. Many of Tuomas Haapanen’s students (for example, Jaakko and Pekka Kuusisto,

Réka Szilvay) started as violin fiddlers with Géza Szilvay. Tuomas Haapanen says about the

Colourstrings,

“The pedagogic activity of Géza and Csaba Szilvay has been uniquely successful and the Violin

Fiddlers had a very inspiring influence in their time in Finland. I think the Szilvay-brother’s strong

personal touch to the teaching was important for the success of the method. I am sure that several

top musicians of today had the origin of their inspiration and good primary education there. ”

There are also many beginners in the world, as well as in Finland too, who start to play the

violin with the Japanese Suzuki method. Tuomas Haapanen considers the Suzuki method to be

more like a way to inspire the interest and enthusiasm of the beginners. With the leadership of a

good instructor it may prove very successful, but if badly used it seems to be much too schematic

and he is not willing to sign the Suzuki method in every aspect. In every method private lessons are

naturally needed.

Finland has a widespread network of music schools and conservatories. It is valuable especially as

it enables children to have musical lessons all around the country at an early stage and it works as a

kind of filter to more serious music studies. Tuomas Haapanen continues,

“Even if the level of teaching is not of such high quality, excellent teachers can be found

occasionally. But anyway the fact that it is possible to go to music school and go on from there is a

big thing. The violin studies should be serious already when the student is a child. To teach the

techniqual part at an early stage is evident, but teaching should always include music making since

the very beginning.”

Studying Violin as Professional Education

9 The Colourstrings approach to music teaching created by Csaba and Géza Szilvay is based on Zoltán Kodály’s principles. “Colourstrings” means ‘child-centred music teaching’. The philosophy and method does not form or mould the child to the need of the instrument (as conventional methods do) but rather ‘domesticates’ the instrument and the instrumental teaching to meet the child’s need. Within Colourstrings, Little Rascals, Singing Rascals and Instrumental Tutors from a three-step unit where musical education starts at a tender age and develops uninterruptedly in an ever-increasing way.

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At the time when the student starts to study the violin at professional level, the student has already had several years of hard training.Tuomas Haapanen believes that an optimal environment or school for studying violin would include

the following:

- “qualified teachers”

- “numerous talented students”

- “fine external facilities”

“Practicing and studying the main subject, for instance, violin playing, are not generally

stressed enough in educational programs. No doubt a musician must also study the theory and

history of music as well as general knowledge. The fact is, though, that they are not separate from

the main subject which demands exorbitant working hours. Chamber music and playing in an

orchestra are a self-evident part of the studies, and making acquaintance with preliminary pedagogy

doesn’t harm anyone. The pedagogic studies alone do not help very much in this special field, I

think. Common sense and teachers’ personal qualifications are much more important.”

He further continues,

“I think that chamber music, orchestra playing, soloist training, etc. belong all together. One

keeps pondering whether soloists, orchestra musicians or pedagogies should be schooled separately.

In my opinion one must educate good musicians who get adequate readiness to act according to his

or her inclinations. Quite few become active soloists. A soloist needs impeccable virtuosity and

above all nerves of iron. These qualifications can be had only by exceptional persons, but even

these do not suffice without a good musical understanding. A good chamber musician or orchestra

player can not manage without extensive soloistic skill. Teaching is also difficult unless the teacher

does not know how to play. No shortcuts exist, and even if one would like to specialize at an early

stage, the main subject studies cannot be minimized.

Orchestra, chamber music and pedagogy in suitable proportion are an important part of the studies.

All these are needed. Thus the soloist also needs skills to play with others, and the orchestra

musician needs very high soloist skills. Without these preconditions no one can get job in an

orchestra.”

A vast all-round education is evidently important for the musicians of today, even though Tuomas

Haapanen thinks it is important at the beginning of the studies to concentrate on the main subject -

the music and the playing. Later on the scope of the activities can be widened. Actually, even the

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soloists are rather many-sided today. Almost all of them teach, play chamber music, etc. Several of

them have also begun to conduct orchestras and organize music festivals as well.

The needed qualities for a good violinist

The needed qualities for a good violinist are in Tuomas Haapanen’s opinion:

-“a good ear”

-“that the studies should have begun as early as possible”

-“a good sense for music”

-“relaxed physical qualifications”

-“a good sense for performing”

- “capability to play together”

Tuomas Haapanen states that to work as a violin teacher is very intensive and strict, because the

teacher has a big responsibility. One of the most important qualities as a teacher is in Tuomas

Haapanen’s opinion to get to know the student and make a clear diagnosis. Before you can

effectively develop your student, you have to know her/him very well. And all the students are

different from each other.

To the question what qualifications should a good violin teacher have Tuomas Haapanen replied

the following:

- “to be a good musician”

- “ to have an understanding of the individual qualifications”

- “to be be strict in the basic technical matters”

- “to have a great understanding of music and style”

- “to use one’s own thinking, judgement and common sense”

3 Professor Tuomas Haapanen´s General Opinion About Music Competitions

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Tuomas Haapanen has been the Chairman of the Sibelius International Violin Competition10 for 21

years and a jury member in several international and national music competitions (for example The

Queen Elisabeth Violin Competition in Brussels). He was also a member of The World Federation

of International Music Competitions11 for 20 years. During that time he attended the Federation’s

meetings every year.

Tuomas Haapanen thinks that music competitions are often misunderstood. The point is not to

compete with other candidates, but to play like in a concert performance. In Tuomas Haapanen’s

opinion a competition is an excellent opportunity and challenge for young musicians to perform in

public. There are not many young musicians, even if they are extraordinarily talented, who get the

chance to play in front of a full symphony orchestra to a sold out audience. You may sometimes

hear very fine performances in competitions, and this enjoyable concert music is the best award for

the audience.

“There are times in the jury when you sit and listen and suffer during mediocre performances.

But sometimes there are so-called top moments, when some young violinists thrills the audience

with a wildly fresh, strong and fine performance, and these are certain very worthy moments. The

result of a competition is not the final word of the participations level. There are no absolute

measuring units in music competitions. Mistakes take place especially in the first eliminations, in

which some rather good player may fall. The decisions of the jury may sometimes be surprising.”

Anna Krohn, who has been working as a secretary in several international music competitions with

Tuomas Haapanen, describes him as a very civil and fair jury member. No kinds of “jury-games”

are accepted at all by him. And he is sincerely enthusiastic and interested in trying to help young

and talented musicians in their careers. This is actually what the competitions are all about. Anna

Krohn thinks that especially thanks to these qualities, Tuomas Haapanen is so popular in the whole

world as a jury member.

10 The International Jean Sibelius Violin Competition is a competition for violinists up to age 30. It is held every five years (-00 and -05) in Helsinki and is considered to be one of the top 3 most appreciated violin competitions in the world. The competition is arranged by The Sibelius Society of Finland.The competition has always had high-level competitors, and winners such as Oleg Kagan, Viktoria Mullova and Leonidas Kavakos have become internationally performing soloists. The popularity amongst players might be explained by the location of the competition: Finland connecting western Europe and USSR was probably considered safe enough by the Soviet authority to allow players to attend the competition.11 The World Federation of International Music Competitions represents more than 120 organisations around the globe working to discover and promote today’s most promising young musicians. The Federation’s home office is in Geneva, Switzerland, where it was founded in 1957. Membership in the Federation is reserved to competitions that meet the high musical and organizational standards outlined in our statues and recommendations. This guarantees that musicians and audiences alike can expect the very best from competitions hallmarked as members of the WFIMC.

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The Asia Phenomenon

Nowadays there is hardly any international violin competition in which there is at least one finalist

from Asia. The Japanese, Chinese and Koreans are standing out strongly. Tuomas Haapanen says

that apparently an active interest there has arisen to western music and especially in playing it:

“One must admit that in handling an instrument and in the field of musical comprehension they

are usually talented. They find the playing easy and natural. An excellent sense of music and

coordination ability as well as physical qualifications, seem to be quite common there. Additionally,

they practice in a goal orientated way and diligently. They can also get high standard instruction in

their own countries. Although their virtuosity is often even too accentuated in contests, one should

not underestimate the artistic and musical talent of the musicians of the Far East. It has been evident

ever so often. Because the western musicians are trying to achieve great effects they are sometimes

missing their musical authenticity and freshness. There are exceptions of course, in both directions;

excessive generalization is never wise.”

When Tuomas Haapanen is training his students for competitions, he wants to point out the

meaning of interpretation. Accurate technical quality is of course also important, but it is not

enough. Anyway a competition is not a virtuosity show but a musical performance. If you don’t

have very good nerves, you should not attend a competition and be afraid. One can be a very fine

musician even without attending a competition. Tuomas Haapanen says,

“It’s not so clear that the one who is good in a competition would be the best in every aspect.

Anyone can be just as talented in a different way. And the competition is not a goal as itself, it

doesn’t say the definitive word who is good or bad. But on other hand, it is an excellent challenge

where you can try your strengths.”

Of his own students Pekka Kuusisto among others has succeeded by winning the International

Sibelius Violin Competition in 1995 as the first Finn ever winning it.

“It was of course a very fine experience when Pekka won the Sibelius Violin Competition,

especially because before that, the Finnish media had made fun of Finnish violin playing unfairly.

But after Pekka’s 1 st prize it gave hope and people started to believe, that top violinists could also

from Finland.”

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When asking Tuomas Haapanen if he has some special methods of training students especially for

violin competitions, he answers it is basically a question of normal teaching. But he points out the

meaning of preparing the concentration of full level just right at the competition. Therefore it is not

wise for example to torture a student with detailed advice just before going on stage. (Rondo 1978,

8)

Contemporary Way to Play

Tuomas Haapanen thinks that violin playing of today has been rather standardized, especially as for

technique. The differences of the different violin schools (Italian, French-Belgian, German,

Russian, etc.) are not so big anymore when it has become easier to travel and have lessons with

many different pedagogies around the world. For example, for 100 years ago, the school system was

not so systematic as today, and it was more just between the student and the teacher.

“The violin playing of today follows very much the same lines. For example the sound quality,

the quality of vibrato ― all such things have been accepted as the general norm. In spite of this,

certain differences can be heard depending on whether one has been studying in the United States,

France, Germany, Japan, Korea, China or Finland, although again one must not generalize too

much. It rather concerns the personal likings of each musician and teacher. In addition, there are

teachers all over the world who may represent any nationality or school. Fortunately there are still

different personalities among performing musicians.”

We can listen to recordings that are 100 years old, and we will hear that the way they played at that

time is not so different from today. Violinists have always had as an aim to create as beautiful

singing sound from the violin as possible. How the violinists played before the recordings were

made we don’t know for sure, but there is no convincing evidence proving that it was

fundamentally different.

“Of course the performer must know and feel the historical background and the style of the

music he or she plays. But I dare to say that only through artistic and musical intuition a genuine

style can be found, not only by reading old textbooks goal-directed. ”

4 Tuomas Haapanen as a Rector

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Tuomas Haapanen worked as a Rector at the Turku Music Institute (later called the Turku Music Conservatory) 1966–78 and at the Sibelius Academy 1987–1990.

“I didn’t enjoy the administrative work very much, feeling that it disturbed my musical activity and teaching. Someone had to do it, though. Anyway working with the talented and motivated young people has given and taught me a lot during all this time.”

The choice of Tuomas Haapanen to become the Rector of Sibelius Academy was practically

unanimous because there was no other candidate. Tuomas Haapanen’s strength was his image as an

active musician. The vice-rector Lassi Rajamaa, describes Tuomas Haapanen’s personality as

conciliatory: “I don’t remember that I have never argued with Tuomas Haapanen or I have never

heard that somebody would have done it.” Lassi Rajamaa remembers also Tuomas Haapanen as a

very clear director. “I got to think about it, when a radio editor described Tuomas Haapanen as an

ideal person to interview. Haapanen does not express things in a complicated way, but briefly and

simply. In Haapanen’s way of being there are no hidden meanings or intrigueing.”

Being a Rector in a very big university like the Sibelius Academy is very hard and demanding. A

Rector has a big responsibility, but Tuomas Haapanen always wanted to lead in very democratic

way and he was happy about the co-operation between his colleagues-they worked as a team.

Despite the enormous amount of work as a Rector, Tuomas Haapanen wanted to keep his violin

students during the period as a Rector. He also worked during this time as a conductor of the

Sibelius Academy Chamber Orchestra to keep a touch with music making.

In 1999 Tuomas Haapanen received the Finnish Music State Prize. In the congratulation speech,

the culture minister Suvi Lindén pointed out the meaning of education and art training: “….Even if

there are a lot of administrative duties as a Rector for a big institution like Sibelius Academy, they

have told me, that you could often hear violin music from the Rector Tuomas Haapanen’s room.

That tells very clearly what the Rector thinks is the most important thing at the Sibelius Academy -

the music…..Professor Tuomas Haapanen can undeniably with a good reason be called as one of

the key persons in the success story of the Finnish music life.”

The Administration

Tuomas Haapanen says that the hardest thing for him being a rector was that he did not really feel

comfortable working with administrative questions and going to talk to the Ministry of Education.

During Tuomas Haapanen’s time as the Rector, the Sibelius Academy expanded ― for example;

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the folk music department and jazz music department were included in the education programme.

Tuomas Haapanen admits that he was in the beginning quite reserved about this reform. He was

worried that the resources would get smaller and the serious studies in the demanding area of

classical music would suffer. He can still sense these risks with the always expanding Sibelius

Academy.

In his speech at the opening of the academic year on 31 August, 1987 he pointed out among other

things the renewal of the examination system. He did not like the “box model” in the system-the

great talents were not able to develop in their own time because they were forced to play and study

certain pieces in certain order for the examinations. He was also worried about the monster-word

accountability. The Sibelius Academy should underline its profile as a music making art-institution.

The orchestras, the opera studio and never the least the solistic results at the Sibelius Academy have

resulted in success and reputation. From that point of view, the Academy should in Haapanen’s

opinion, primarily concentrate on qualitative aims and not on the numbers.

In his speech at the opening of the academic year 1989–1990 he asked among other things if a

Polytechnic gives a good enough education for the profession, or if the department of Music

Performance needs any doctoral studies.

Tuomas Haapanen’s comments on the 1980 university curricula reform is that he among the other

teachers were grumbling because the reform had followed the schematic example of the other

universities, which did not suit to music teaching. Tuomas Haapanen says that it is always the same

problem that it is difficult for the authorities to understand the special character of teaching music.

That it is very important that every student is an individual who needs to have a personal teacher. It

is a question of a very long development which starts already in an early age. He thinks that passing

as many exams as possible should not bee the purpose. Instead it would be good if the Academy

could be even more flexible in creating different examination systems to every individual- to take

into account every student’s needs and abilities. Naturally the instrumental teacher in the main

subject has the biggest responsibility to take care of every student’s development in the right way.

(Sibis, 2000)

A counterbalance to work

Tuomas Haapanen relaxes by running and this hobby is very important for him. He has run several

marathons. When he is running, he can feel completely free from all stress and he can handle more

stress when he is in a good physical condition He feels also more healthy if he has been running.

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Tuomas Haapanen also thinks that a good physical condition is related to a good violin playing

condition. He recommends running warmly to every musician. (Rondo 1988 and 1978)

Lassi Rajamaa remembers they were once jogging together with Tuomas Haapanen in Copenhagen.

Lassi was trying to have a conversation, but Tuomas asked him to be quiet, because he used to

count his steps, and that is impossible if you try to talk at the same time…Once when Tuomas

Haapanen was about 75 years old, Lassi remembers that Tuomas once complained that his jogging

speed had become slower. “ Tuomas Haapanen seemed to be very concerned about it, and listed

reasons like wrong practicing methods or too little stretching exercises, etc. until in the end, he

incidentally mentioned that maybe his age could have something to do with it,,,,”

5 Conclusions and Future Visions

Which in Tuomas Haapanen’s opinion are the weaknesses and strengths in the music life of

Finland?

“Of course those who gain eminence most visibly are the singers, the conductors and the

soloists, but I have noticed that the vast self-sufficient quality – opera, symphony orchestras,

chamber music and music education of our musical field – arouse special admiration and

amazement abroad. One of the weaknesses might be, I guess, that success of this kind is not

understood here at home adequately.”

In Tuomas Haapanen’s opinion the most important area to develop the Finnish violinists is to put

more stress in the primary education. The errors made in it are troublesome to correct later. The

teaching should already at the early stage include music and interpretation. The work at music

schools should also be supported more and the serious studies of music should be better appreciated

in the entertainment turmoil of today. As the music studies should begin already at an early age, it

requires that the parents also participate a lot.

There has been a lot discussions if there is too much education and if there will be work for all

violinists in the future. Tuomas Haapanen says,

“Is no doubt that it is difficult to find the desired employment, but the alternatives are still

reasonably good compared with many other fields. One can only hope that the decision-makers

would invest more in city orchestras and musical institutions. This could help in many ways the

situation of professional musicians and also improve the teaching. I only wish that the resources of

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our orchestras and music schools could be at a level according to the international success of our

music life.”

Tuomas Haapanen worked as the chairman of SJO 12 from 1979 (when the association was founded)

until 1989, and was later conceded an Honorary Member of the association besides Anja Ignatius13

and Leena Siukonen14. Tuomas Haapanen thinks the cooperation between violin teachers and

colleagues in Finland, is open and communicative. The work in SJO and ESTA are good examples

of that.

Bibliography

Interviews:

- Haapanen, Tuomas. 9.2.2006, August 2006, January 2008

-Iivonen, Petteri. 31.8.2007

- Krohn, Anna. 13.8.2007

-Kuusisto, Jaakko. 24.5.2007

-Nummi, Silja. 20.8.2007

-Rajamaa, Lassi. January 2008

-Savioja, Satu. 25.10.2007

-Szilvay, Réka. 17.9.2007

-Vikman, Laura. 9.5.2007

-Vähälä, Elina. 16.5.2007

Knuuttila, Mervi 1978: Kuukauden taiteilija: Tuomas Haapanen kuntoileva viuluprofessori,

Rondo (8), pages 14―17

Kotilainen, Tuula 2000: Tuomas Haapanen - menestystarinan avainhenkilö. Sibis (1), pages

14―16

Pyysalo, Riitta 1986: Kilpasoitto tuomiolla, Suomenkuvalehti (8), pages 49―52

Raiskio, Pirjo 1988: Rehtori Tuomas Haapanen, Rondo (8), pages 6―812 SJO is the Finnish String Teachers Association and it belongs to ESTA which is the European String Teachers Association13 Along the solo career, Anja Ignatius (1911–95) acted later also as a chamber musician in the well known Helsinki string quartet and as a violin professor at the Sibelius Academy in 1955–78. Besides being a top violinist and a mother of a grand family, she was also a very close friend to Jean Sibelius. Performing his violin concerto formed a strong theme in her career. The maestro’s position in the Ignatius family was so evident that the grandchildren of Anja thought that Jean Sibelius was Anja’s husband. 14 Leena Siukonen (1924–94) was one Finland’s best known violin pedagogues. She worked as a lecturer of violin playing at Sibelius Academy and she has had very famous students, for example Leif Segerstam. She has also published a violin school book (parts 1-3).

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Furthermore the interviews I have also taken information to this article from a TV-document of

Tuomas Haapanen called Timantin hiontaa (=Sweating a Diamante). The document was made by

The Finnish Broadcasting Company (YLE-teema) and it was shown in the Finnish television on

19.11.2006. I have also taken information from the internet, Riikka Kokkonen’s masters thesis

“Violinist Tuomas Haapanen’s pedagogical views” and from some music encyclopaedias.

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