Annual Review
2011
PUBLISHER: Sibelius Academy EDITORS: Karoliina Pirkkanen, Kaisa Raitio and Juha Sjöblom TRANSLATION: Elävä Kieli - Vivid Words LAYOUT AND DESIGN: Tiina Laino PHOTOS: Wilma Hurskainen, Heikki Tuuli (cover photo), Erkka Malkavaara (p. 7 opera photos) PRINTED BY: Markprint, Lahti 2012 ISSN 1797-4763 (print) ISSN 1797-4771 (electronic version) The Annual review can be ordered from the Sibelius Academy communication services, tel. +358 40 710 4319, info@siba.fi
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Contents 4 6 10 13 14
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In the midst of changes, looking towards the future Curtains up on new stages at Helsinki Music Centre The library move led to euphoria Structural reforms to ensure smooth daily operations We are all artists! University of arts brings different disciplines together Arts university venture – timeline in 2011 Redesigned communication reflects the changes Key figures – students and completed degrees Key figures – personnel, finances and concerts
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In the midst of changes, looking towards the future THE YEAR 2011 was characterised by three major milestones for Sibelius Academy. The new organisational structure was adopted in 2011. We celebrated the opening of the Helsinki Music Centre, and on 15 November, the foundation agreement for the University of the Arts Helsinki was signed. All these brought changes and new challenges for both staff and students throughout the year. They also gave us the coordinates for our path in the coming years. By autumn, changes in our facilities - the closure of Pitäjänmäki and the move to the Music Centre - had made an impact on the day-to-day lives of everyone at the academy. When the Music Centre opened to the public, a dream of many years for Sibelius Academy came to fruition. The planning and construction process was a long effort, and the results exceeded everyone's expectations. Concert audiences discovered the myriad forms of the academy's artistic activity in an unprecedented way, as was evident in soldout events and boosted ticket revenues. Sibelius Academy established its position as one of the main operators of the Helsinki Music Centre, and co-activities with the other resident organisations increased and diversified by having everyone under one roof. The organisational reform transformed eleven separate departments into an arts university comprised of two faculties. The change was essential as we approach the transition to University of the Arts Helsinki. The organisational reform and the co-activities with the other organisations operating at the Helsinki Music Centre provided a glimpse of the opportunities the new arts university will bring. The exceedingly successful Satakieli fundraising project, which was closely linked to the university reform, sent a clear message: Sibelius Academy has a solid standing in Finnish society. The total amount raised during the project was over €2,000,000. The result is owed to the academy's own people as well as external supporters. Increased international activities in arts, research and education indicate that we also have a strong position globally. The pace is not about to slow down, but the changes in 2011 have given Sibelius Academy a clear path towards the future.
Gustav Djupsjöbacka
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“When the Music Centre opened to the public, a dream of many years for Sibelius Academy came to fruition.�
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Curtains up on new stages at Helsinki Music Centre As a result of the move to the Helsinki Music Centre, the academy’s artistic activities are now centred in the brandnew concert halls, and the new cradle of music has proved highly popular among the general public, as seen in ticket revenues and sold-out concerts. Our concert audience numbers multiplied during the 2011 autumn season. The Sonore Hall inspired the academy to rethink its opera education. New ways of producing operas, and even composing them, were discovered in the process. "The Music Centre has created vast possibilities for the artistic activities of Sibelius Academy. It is now up to us to establish what kind of relationship we want to have with the concert audience," says Professor Markus Lehtinen.
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Education model for opera Unique in international comparison
Approachable opera at an approachable music centre
The move to the new premises gave a kick-start to the In the autumn of 2011, vocal students at Sibelius Acadrenewal of the opera degree programme at Sibelius emy had the honour of performing the first ever opAcademy. The English-language Master's level opera era production at the Helsinki Music Centre, the "One programme, which lasts two and a half years, received Night Stand", commissioned from Olli Kortekangas. eight new students in autumn 2011. The students will By commissioning a new home-grown composition, be working in a completely new way. Designed with the idea was to show that opera as an art form can be the new premises in mind, the new model is unique closely connected to the present day and rooted in the worldwide due to the fact that students will know themes of our time. True to this idea, the theme of the from the start which opera productions they will be opera came straight from modern life: one night in a involved in during their studies. The metropolitan city in 2011. The virtually everyday activities of the degree sold-out performances were proof that Students will know programme are centred on biannual an approachable opera, which speaks from the start which opera productions, incorporating a to the people of today, can engage auselection of courses to support each diences. The opera also supported the opera productions production: for example, when stumission of the Helsinki Music Centre: they will be involved dents are working on one of Rossini's to bring music close to the lives of all. in during their operas, they will study the Italian "For me, One Night Stand was exlanguage and the history of Italian actly the right choice for the first opstudies. opera. This way, the courses compleera production at the Helsinki Music ment each other, and both teachers Centre. It not only created new ways of and students have greater certainty about the future. meeting the audience, but also a new way to compose This systematic approach is also important for our inand create opera: the composer met the cast a whole ternational presence. year in advance, and the singers were able to put their "Among other benefits, student exchange with inrequests forward during the composition process. Auternational partners will be easier, as we'll know the diences are perhaps more open to a home-grown opera opera programmes and cast requirements well in adthan, say, Mozart or Verdi, and I hope that the feel of a vance. Building partnership networks is the next step premiere can be maintained in all our performances," in making our educational programme truly interLehtinen muses. national. This model has already attracted attention abroad. Now we must have the courage and self-confidence to open those doors. I believe that the international dimension can continue to be a major part of our activities at the Helsinki Music Centre. It is also appealing to singers as a learning environment," Lehtinen explains.
>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> CONCERT ACTIVITIES OF SIBELIUS ACADEMY
• The official concert programme of spring 2011 featured 80 concerts. After the opening of the Music Centre, the 2011 autumn programme included 198 concerts.
• A bold step was taken to set a target for ticket sales after the move: the estimate was €200,000 for the year, and the first autumn season alone yielded €159,300.
• Sibelius Academy is one of the main concert organisers in Finland. The academy produces some 400 concerts and events each year, 200 of which are commercial. From the point of view of the academy students, public concert activities have an important educational role. For teachers, it offers opportunities to develop and maintain their professional skills as musicians.
• Some 40,000 people visit the academy’s public concerts and events each year. During the first autumn season at the Music Centre, events organised by Sibelius Academy attracted about 22,000 visitors. In addition, Sibelius Academy organises concerts outside its own premises. These events are accessed by approximately 7,000 people.
• The majority of Sibelius Academy’s public concert activities moved to the Helsinki Music Centre in the autumn 2011.
• In 2011, a new visual identity was created for the academy’s artistic activities, see page 17
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The One Night Stand opera by Olli Kortekangas was commissioned for the inaugural autumn season of the Helsinki Music Centre. Photos: Erkka Malkavaara.
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The library move led to euphoria and the move to the new premises featured prominently in the academy's day-to-day activities in the first half of 2011. The move of the library was one of the major efforts undertaken in the spring. According to Erkki Nurmi and Jari Klemetti, careful planning was critical to making this major upheaval successful.
remained high, although the mood approached hysteria at times," Erkki Nurmi smiles. "The good spirit came from great teamwork. Many people even enjoyed the move, as it was so different from normal work at the library," says Jari Klemetti. According to Nurmi, the move took a total of twenty lorry loads: two thousand boxes and a couple of hundred roll cages. Moving on the mind "At one point, we ran out of boxes and had to wait until some were unpacked, and then the elastic bands The preparations started eighteen months before used in the roll cages were sold out in all Helsinki." the move. Inventories were taken, shelf metres were Although the situation was hectic and evolved all counted, and new furniture and shelves were designed. the time, the earlier plans made the move easier. The "Although we thought we had counted everything library was closed from the first of May until the begincorrectly, we still had to redo the ning of September, although the new facalculations many times," says Erkcilities were ready before the expected "The good spirit came ki Nurmi. date. from great teamwork. The last six months before the "We thought we would need the move were hectic, and the preparawhole summer, but everything was Many people even tions featured prominently in the ready earlier than we had thought. We enjoyed the move, as day-to-day affairs at the library. could have opened the library before it was so different "Customer service carried on as the agreed date," Nurmi says. normal, but our minds were on the from normal work at Modern facilities draw visitors move. By the end of the design prothe library." cess, we knew the architect's phone number by heart," Nurmi reveals. The new library facilities at the Helsinki The approaching move was not apparent to the liMusic Centre are more practical and modern than the brary's customers until one week before it started, old premises. The move also meant new opening hours although they had been informed at the beginning of which facilitate a more flexible service, with different the year. Customers were encouraged to take out as working hours and duties for the staff. many items on loan as possible before the move, to enCustomer feedback has been positive. The modern, sure that they would have all the material they needed centrally located facility brings the library closer to while the library was closed. the customers. Although leaving the old premises was "The old library was very busy on its last day, and emotional, the library staff is not missing them. Howpractically all our staff were serving customers. We ever, some things can't be replaced. were excited to see who would have the honour of "The one thing I do miss from the old library is the lending the last book before the move," Jari Klemetti view of Töölö Bay," Jari Klemetti admits. reminisces. All in all, the two coordinators agree that the move was a positive experience. Being involved in such a Move helped by good team spirit major move is a rare event in a person's career - or life in general. The move took two intensive weeks. Although people "I'll remember it as a great experience. I could do were often working round the clock, they managed to the move all over again," Klemetti laughs. stay in high spirits. “The planning stage was challenging, but the move "We experienced intense moving euphoria. Spirits itself was fun," Erkki Nurmi summarises.
THE OPENING OF THE HELSINKI MUSIC CENTRE
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>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> SIBELIUS ACADEMY LIBRARY
• The task of Sibelius Academy Library is
to source and provide materials needed for studies, teaching, artistic activity and research at the academy. In addition, the library provides training in the use and searching of materials. The library is open to all.
• The library sources include printed
Customer facilities at the library have proven popular
and electronic materials: sheet music, composer collections, books, audiovisual materials, magazines, journals and databases.
• The collection includes 75,000 items
of sheet music; 40,000 audio recordings; 19,000 books; 1,100 video recordings, and an extensive range of periodic publications, composer collections and anthologies.
FUTURE PLANS FOR THE PREMISES
• The opening of the Helsinki Music Centre
in autumn 2011 signalled the end of the first phase in Sibelius Academy’s facilities strategy. The facilities strategy is a combination of measures which will lead to having all the activities of Sibelius Academy centralised in the Töölö district.
• The second phase of the strategy in-
volves the refurbishment of the Nervanderinkatu 13 property in 2013–2014. The facility will be ready for use in the autumn 2014.
• The R Building (Pohjoinen Rautatiekatu 9) will be leased to Parliament from summer 2014 onwards. The building will be refurbished in the last phase of the strategy in 2017, after the end of the lease agreement with Parliament. The R Building will be recommissioned after the refurbishment in 2018 to coincide with the closure of the T Building (Töölönkatu 28) as an academy facility.
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Erkki Nurmi in the library's audio room
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Structural reforms to ensure smooth daily operations THE PREVIOUS ELEVEN DEPARTMENTS OF SIBELIUS ACADEMY were restructured in August 2011 to form just two faculties. The Faculty of Classical Music and the Faculty of Music Education, Jazz and Folk Music are steered by two deans. Both agree that the reform has facilitated better internal co-activities in education. “The reform was our important first step on the road towards smoother daily operations and an even higher standard of education. For example, at the Faculty of Classical Music, we have been reviewing the timetables of artistic activities and group lessons. Students' lives are made easier by the fact that the reform enables us to considerably reduce overlapping course schedules starting next year. Nevertheless, we should remember that it will take time before we find the best way to do things using this new model. In addition, the learning cycle of music students is long, and I believe that the effects of this reform won't be seen properly until a couple of years down the line," says Dean Kaarlo Hildén from the Faculty of Classical Music. The departmental reform provided functional tools for teachers and students, including practical guidelines for lecturers and an orientation checklist for new teachers. Previously, different departments had different teaching arrangements. In 2011, they all came together to find a new form of cooperation by conducting dialogue across disciplinary boundaries. – “In my faculty, we've had our first joint discussions about the way educational guidance used to be organised. The change is not complete; we are still working our way through the redesign process. The leadership approach is based on using each other as sounding boards for ideas, working and debating together.” – ”We must continue supporting the different identities of different disciplines, their cultures and strengths," says Dean Elina Laakso from the Faculty of Music Education, Jazz and Folk Music.
We are all artists!
University of the arts brings different disciplines together
In November 2011, after a number of stages, a decision in close cooperation with the Theatre Academy and was made on the merger of the Sibelius Academy, the the University of Art and Design Helsinki. Despite the Finnish Academy of Fine Arts, and the Theatre Acadmany phases of the venture, she has always been a firm emy Helsinki, which will come into believer in the merger. force at the beginning of 2013. Sibelius "We believe that the merger will Academy student Niilo Tarnanen and create good synergy. I have a posi“This is a major signal lecturer Riitta Tikkanen discuss the tive view on the venture. Throughthat we are promoting stages of the arts university project. out the process, I have believed arts and culture at a that the arts university will become Cooperation in the spirit of trust a reality. This is about the spirit of time when all other the times. The resources must be areas must tighten Niilo Tarnanen explains how stuin place in order for the venture to their belt.� dents' views on the arts university provide genuine added value." have changed during the year. Throughout the year, the Sibe"Initially, the venture seemed dislius Academy student union had tant. Previously, there had been more fears and a lack many discussions on how the venture should be apof information, as discussions lacked tangibility. As the proached. year progressed, the mood became more hopeful and "The arts university must be an enabling venpositive, although there were still as many opinions as ture. By the end of the year, the student unions had there were students." reached a place of trust. Everyone feels that they are Riitta Tikkanen, who has worked at Sibelius Acadpart of the same group - we are all artists," Tarnanen emy for over 20 years, already had experience working summarises.
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"The trust comes from knowing people from the other universities. I also trust the people who are steering the project. I believe they will make the right decisions. We are approaching the joint venture slowly, one step at a time," says Tikkanen.
ple, art can highlight issues which could otherwise go unnoticed."
Promoting the arts and culture
Both recognise the importance of an interdisciplinary approach and encounters between different art forms. "That's the core idea of the arts university; that is why we are doing this. Encounters between art forms can create something new. Arts universities need new stimuli in order to avoid becoming stale," Riitta Tikkanen notes. "I think musicians have a lot in common with other artists, such as sculptors. The similarities are not in the day-to-day work, but at a more abstract level," says Niilo Tarnanen. "Having an encounter with something different can be intriguing in terms of one's own thought process. I am particularly interested in the philosophy of art and how other disciplines see and process reality. Exploring these areas can help us learn a lot about what it means to be an artist," Tarnanen concludes. The experienced lecturer hopes that everyone will approach these encounters with an open mind. – “I hope we can be curious and open to our encounters. Who knows what doors can open through them."
Moving boldly towards inter-disciplinary encounters
The tight schedule of the merger was one of the issues perceived as a threat by the students. "It takes time to understand the situation. The process can generate new ideas and cooperation. It is easy to start worrying about what can be done on such a tight schedule, but not everything has to be ready by 2013," Niilo Tarnanen points out. According to Riitta Tikkanen, the arts university will reinforce the position of arts and culture in society as a whole. "This is a major signal that we are promoting arts and culture at a time when all other areas must tighten their belt. Modern society is driven by material values. However, people - especially young people - are hungry for culture, and this hunger should be nurtured." Tarnanen points out that trust and the need for an arts university must be expressed through actions. "Resources must be justified: we must also demonstrate the importance of the arts in society. For exam-
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Kuva: iStockphoto
Arts university venture – timeline in 2011
UNIVERSITY OF the ARTS HELSINKI
• The University of the Arts Helsinki will be launched at the beginning of 2013 as a merger of the Finnish Academy of Fine Arts, the Sibelius Academy, and the Theatre Academy Helsinki.
• The new free arts university will promote arts education, and the status and autonomy of the arts in society, nurturing arts and culture in the whole of Finland: the university will comprise three academies which are equal in terms of educational content and cultural significance.
• The current staff and students of the existing academies will be transferred to the
University of the Arts when it opens. The total number of students will be approximately 2,000, and the number of man-years is 600.
ARTs UNIVERSITY VENTURE - TIMELINE IN 2011 12.1.
The Ministry of Education and Culture working group on the university of arts submits its report 10.3. The Board of Sibelius Academy approves a statement on the working group memorandum. Sibelius Academy supports the launch of the drafting of the university project. 4.4. The summary of comments on the proposal on the university of arts is published. 17.6. A consensus is reached in negotiations on the new government programme. The government programme states: “The creation of a university of arts is to be promoted.” 20.6. The academies meet at the ministry and agree on a project plan to be drawn up by the end of August on the founding of the university, including the objectives and project structure, steering groups, management groups and leadership systems. 27.6. According to the new Minister of Education and Science Jukka Gustafsson, there are no funds for founding the university of arts during the current term of government. 30.6. Minister of Education and Science Jukka Gustafsson states that funding can be considered in two years’ time. If the economic situation improves by then, the project can be given the go-ahead. 16.9. Based on a discussion held at the ministry, the boards of the academies should each make a decision on the founding of the university by the end of October. 15.11. The Academy of Fine Arts, the Sibelius Academy and the Theatre Academy sign the agreement on the mutual terms and conditions for founding the university on 1 January 2013. 22.11. Seppo Määttä is appointed project leader for the university of arts project. 9.12. A competition is launched to find a new name for the university of arts.
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Redesigned communication reects the changes
User-friendliness and ease in the new visual identity of concerts
SIBELIUS ACADEMY WAS GIVEN a new eye-catching visual identity in 2011. The changes are practical but also symbolic: they reflect the changes and the transition to a new era. The redesign mostly involved the website, and the visual identities of the university and its concert activities.
The new visual identity of the academy’s concert activities was launched in May 2011 to coincide with the publication of the autumn programme. The identity includes new imagery and colour codes for different musical genres. The seven colour codes depict the six genres and the cross-genre category. The colours are included in all communications about concert activities, from the website to posters, advertisements and concert programmes. They are designed to help users find and choose concerts more easily than before.
Completely redesigned website The website was given a complete overhaul: the structures, contents and design are all new. The redesign will provide a better, more versatile service to the main user groups. The new website is aimed at promoting the Academy's high-standard concert and event productions and educational offering in an attractive and easy-touse format. In terms of functionality, the most important and visible new feature is the new events calendar, which makes it easier to search and book tickets for concerts and events. Visual identity based on musical imagery The new visual look of Sibelius Academy still has some familiar elements, though the majority of the visual cues are completely new. The swan symbol and the main navy blue colour are still there as strong symbols. Virtually everything else has changed: typography, colours, forms and other print products. At the heart of the new visual identity is musical imagery which can be used to illustrate various communication materials. A computer programme designed for this purpose visualises the music in a way similar to that of a sequencer. Notes form colourful horizontal bars. The colours are formed based on the tone, and the colour palette consists of the academy's new colour range.
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Key figures – students and completed degrees Applicants and new students, Applicants and Master’s new students, Bachelor's and programmes Bachelor's and Master’s programmes
1200 1200 1000 1000 800 800 600 600 400 400 200 200 0 0
2005 2005
2006 2006
2007 2007
2008 2008
Applicants Applicants
2009 2009
Applicants and new students, youth education Applicants and new students, youth education
2010 2010
120 120 100 100 80 80 60 60 40 40 20 20 0 0
2011 2011
New students New students
2005 2005
2006 2006
Bachelor’s Bachelor’s
2007 2007
2008 2008
2009 2009
Master’s Master’s
2010 2010
35 35 30 30 25 25 20 20 15 15 10 10 5 5 0 0
2011 2011
2008 2008
Doctorate Doctorate
2007 2008 2007 2008 Doctorate Doctorate
2005 2006
Graduate students Youth education
2011 2011
2010 2010
2011 2011
2008
2009 2010
2011
1399
1298
1214 1254
1270
143
140
136
156
157
151
141
77
82
80
82
80
82
84
2009 2010
2011
Graduate students 2005 2006
Bachelor’s/Master’s 2009 2009
2010 2010
Graduate students
2011 2011
Inbound exchange students Inbound exchange students
18 Funding sources (in thousand euros) Funding sources (in thousand euros)
2009 2009
2007
Number of overseas students
2008 2008
2010 2010
1420
Bachelor’s/Master's 1421
2007 2007
2009 2009
New students New students
2005 2006 2005 2006 Master’s Master’s
Number of students
Outbound exchange students Outbound exchange students
40 000 40 000
2007 2007
Degrees completed by overseas students Degrees completed by overseas students
Student exchange Student exchange 80 80 70 70 60 60 50 50 40 40 30 30 20 20 10 10 0 0
2006 2006
Applicants Applicants
Completed degrees Completed degrees 350 350 300 300 250 250 200 200 150 150 100 100 50 50 0 0
2005 2005
2007
2008
131
135
143
134
131
133
134
14
16
18
20
23
24
23
60 50 50 40 40 30 30 20 20 10 10 0 0
25 000 20 000 15 000 10 000 5 000 0 2005
2006
2007
2008
2009
2010
2011
Key figures – personnel, finances and concerts 2007 2007
2008 2008
2009 2009
2010 2010
Outbound exchange students Outbound exchange students
Staffing costs
2011 2011
Other expenses
Rental costs
Inbound exchange students Inbound exchange students
Funding sources (in thousand euros) Funding sources (in thousand euros)
Personnel (man-years)
40 000 40 000 35 000 35 000 30 000 30 000 25 000 25 000 20 000 20 000 15 000 15 000 10 000 10 000 5 000 5 000 0 0
500 400 300 200 100 0 2005 2006 2007 2005 2006 2007 Budgeted funding Budgeted funding
2008 2009 2010 2008 2009 2010 Supplementary funding Supplementary funding
2011 2011
2005
2006
2007
2008
Teaching and research staff
2009
2010
2011
Other staff
Cost structure (in thousand euros) Cost structure (in thousand euros) 40 000 40 000 35 000 35 000 30 000 30 000 25 000 25 000 20 000 20 000 15 000 15 000 10 000 10 000 5 000 5 000 0 0
Public concerts Number of public concerts Public concerts audience numbers
Commissioned concerts 2005 2005
2006 2006
2007 2007
Staffing costs Staffing costs
2008 2008
Other expenses Other expenses
2009 2009
2010 2010
2011 2011
Number of commissioned concerts
Rental costs Rental costs
500 500 400 400 300 300 200 200 100 100
2005 2006 2007 2008 2009 2005 2006 2007 2008 2009 Teaching and research staff Other staff Teaching and research staff Other staff
2010 2010
2006
2007
2008
2009
341
280
249
469
475
2010 2011 460
396
40748 29198 29684 34000 36962 34820 34000
2005
2006
2007
2008
2009
317
292
305
333
182
2010 2011 213
254
Commissioned concerts 52900 72483 50550 78840 45717 31318 34000 audience numbers
Personnel (man-years) Personnel (man-years)
0 0
2005
2011 2011
19
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