A few years ago I indulged the fantasy that most interesting Nordic music written in the last nine decades was, to some extent, a reaction to Sibelius’s symphonic poem Tapiola (1926). In my mind, Sibelius’s score had come to embody the very essence of both an ending and a beginning; its ultimate tabula rasa, in a purifying B major, representing not just a semi-conscious prelude to the composer’s own three-decade silence but also a laying of the ground for a new aesthetic, one for the coming generations to define.