Have you ever sat in a concert hall—at an orchestral performance or a recital—and wondered why the programme is as it is? How the works were chosen, and why they appear in that particular order? These decisions are rarely accidental. They are the result of a process that is both creative and practical.

A programme must do many things. It should engage, challenge and move its audience. It must also be playable, affordable, and suited to the space, the performers and the time of day. At its best, it has a clear sense of purpose—something that invites people in and gives shape to the experience.

At the centre of every programme are three perspectives: the audience, the performers and the composers. The role of the programmer is to hold these in balance, while also considering the many practical details that shape a concert.

There is a useful comparison with cooking. When a chef plans a menu, the aim is not only to prepare something that tastes good, but to create a coherent experience. This involves balancing a few essential elements:

creativity
the expectations of the diners
knowledge of the ingredients and their availability

The same principles apply in music. Trust is important. We trust a good chef, even when the menu includes something unfamiliar. In the same way, a festival can introduce new ideas and take artistic risks, as long as the audience feels that the choices are thoughtful and considered.

At the Fiskars Summer Festival, programming is shaped by both artistic and practical considerations. The repertoire needs to be sufficiently challenging and rewarding for our young musicians and conductors. It combines well-known works with less familiar ones, and it spans a range of style from Mozart and Beethoven, to Wagner, Dvorak and Sibelius; and music by living composers is always part of the programme. It is in the juxtaposition of the familiar with less well-known that magic can happen, shining new light on works we know well with the music of today.

*“When a chef plans a menu, the aim is not only to prepare something that tastes good, but to create a coherent experience”*

There are also practical limits. The number of performers must fit the stage and the budget. The structure of the week matters as well. The festival is intensive, and it is important to find a good balance between work and rest—time to rehearse and perform, but also time to meet others and to experience Fiskars itself.

Alongside satisfying the needs and expectations of our young musicians, ensuring that our wonderfully loyal and curious audience members are stimulated, engaged and entertained completes the process. Fiskars the brand has a long history, where tradition and innovation exist side by side. This is also the starting point for the Fiskars Summer Festival and the work of the Lead Foundation. Our programming is rooted in the music of the past, seen from a present-day perspective, and placed alongside the voices of today.

Programming and Mentoring Director, Lead Foundation

Photos: Jonathan Terlinden

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