Dave Lampson's list of Nordic composers included this remark:

>>Based on my limited exposure so far, I would characterize [Aarre] Merikanto's
>music as being the most "modern" of the five composers listed.

To which Mats Norrman replied:

>I would hestiate on "modern" as a general label on him.  His orchestral
>output, ok let go!  But not to forget that his main contribution to music
>repertoire is his many romances ...there is nothing particualry "modern" with
>his romances.

Maybe not; haven't heard them ...but why are these his main contribution?
(I'm also unclear why his fine orchestral output should be set aside.)
In any case, I'd certainly go along with DL's view that Merikanto (d 58),
among the five composers listed -- the other four being Melartin (d '37),
Madetoja (d '47) Kilpinen (d '59), and Klami (d '61) -- is very Modern.

I'd say Merikanto is even more Modern than Einar Englund (1916-1999).
While I do delight in Englund's music, especially his symphonies, Merikanto
(d '58) is more liberal, adventurous and iconoclastic with musical forms,
as seen in his 1923 Fantasy for Orchestra, Pan ('24), the Violin Concerto
#2 ('25), etc.

To my ear, he revels in musical soundscapes largely uncharted in his times.
The influence of Scriabin may account for the wonderfully eerie sounds
expressed in many of his compositions, and there's more than a trace of
Debussyian impressionism in his music.  Stravinsky's stamp is also clear
in his Ten Pieces for Orchestra (1930).

On the other hand, I'd certainly go along with what I gather is Mats N's
ambivalence for Uuno Klami, at least going on the Naxos release which DL
found "excellent" and "the best introduction" to Klami.  The echoes of
Stravinsky in much of this music doesn't save it, for me, from being of
marginal interest.  In fact, this Naxos discouraged my pursuing him any
further.

...perhaps wrongly?  I add this since the Englund Naxos release almost did
the same for me.

Bert Bailey