The founding of the FIMPV obeyed four core objectives that were to continue throughout history: presentation of internationally renowned performers and the most relevant Portuguese musicians; launching of young Portuguese interpreters, still unknown to the general public; valorization of the region's architectural monuments as concert spaces; and promotion of the region in Portugal and abroad. Underlying these objectives has been the constant concern for the dissemination of masterpieces of great European music of all times and support for contemporary creation.
The Ministry of Culture / State Secretariat for Culture has provided structural support since 1997. Some national and regional companies also contribute financially under the Patronage Act, albeit on a residual basis. The successor company of SOPETE, now Varzim Sol, SA, concessionaire of the gambling zone of Póvoa de Varzim, abandoned the partnership in early 2006. The FIMPV benefits from the collaboration established with some of the most beautiful religious temples in the region, such as concert spaces, namely the Matriz, Lapa, S. José de Ribamar and Misericórdia Churches (Póvoa de Varzim) and the Romanesque Church of S. Pedro de Rates.
Although located in Póvoa de Varzim, in the first editions its direct influence was felt throughout the North of the country (namely Braga, Viana do Castelo, Porto, Vila do Conde, Ponte de Lima, Amares, Barcelos, Caminha, Valença, Guimarães, Vila Nova de Famalicão and Vila Real), the FIMPV contributed decisively to arouse curiosity and to form an own and renewed public of editing for edition, in an admirable effort of cultural decentralization pioneering at the time.
Throughout its 40 years of existence, the FIMPV has promoted renowned national and foreign artists, revealing young Portuguese talent through partnerships with the RDP Young Musicians Award and the Estoril Music Festival.
Note names such as Alfred Brendel - piano (1983), Amandine Beyer - violin (2002 - premiere in Portugal -, 2009), Aldo Ciccolini - piano (1981), Alexander Melnikov – piano (1993, 1997, 1998, 1999), Ana Bela Chaves - viola (1979 and 2009), Ana Mafalda Castro – harpsichord (1991, 1993, 1994, 1997, 2002, 2006), António Saiote – clarinet (2001, 2003, 2004, 2008 and 2017), Anner Bylsma - cello (1993 and 1995), Augustin Dumay - violin (2008), Ballet Gulbenkian (1982, 1994, 1995 and 1996), Cantus Kölln (2001, Carlos Alves - clarinet (1991, 1999 and 2016), Concerto Italiano (1994 - debut in Portugal -, 1998 and 2008), Coro Gulbenkian (1991, 1994, 2007, 2012, 2015) David Levine - piano (1983), Fabio Biondi - violin and musical direction (1993, debut in Portugal, 1998 and 2006), Fausto Neves - piano (1987 and 1993), Gabrieli Consort & Players and Gustav Leonhardt - harpsichord (2008), Gustavo Leonhardt - harpsichord (2008), Gustavo Leonhardt - harpsichord (2008), and Gustavo Leonhardt - harpsichord , Huelgas Ensemble and Paul van Nevel (1996-1998, 2004 and 2012), Iossif Grinman - violin (1994), Isabelle Faust - violin (2007), Helena Sá e Costa - piano (1981), Hespèrion XXI - (1981), Nelson Freire - piano (1981), Josep Colóm - piano (1997), Miguel Borges Coelho – piano (1996, 1998, 2001, 2002, 2004, 2006, 2008, 2013 and 2017), Mstislav Rostropovitch - violoncello (1981), Nikolaï Lugansky - piano (2002, 2004, 2007), Porto Symphony Orchestra Casa da Música - (2015, 2016 and 2017), Gulbenkian Orchestra - (1980-1986, 1992, 2000 and 2015), Lisbon Metropolitan Orchestra (1994 and 2017), National Orchestra of Spain – (1996), Portuguese Symphonic Orchestra, (1994), Paul Tortelier - cello (1981 and 1985), String Quartet Alban Berg (1999 and 2001), Pavel Haas (2011 – debut in Portugal –, and 2012 e 2017) , Prázak (1997 – debut in Portugal -, 1998, 2000, 2004, 2007), Ardeo (2013 – debut in Portugal) and Ebène (2014), Tom Koopman - harpsichord (1992 and 2001), Vadim Repin - violin (1997 – debut in Portugal), Peter Burmester - piano (1983, 1989, 1991, 1993-1995, 1997, 2000, 2003, 2005, 2009 and 2013), among many others.
Throughout its history, the FIMPV has sought to keep abreast of and sometimes anticipate the aesthetic tendencies of contemporary musical art by providing the most respected mentors of the "historically informed" ancient music and the international exponents of the classical-romantic repertoire and contemporaneity. It continues to give strong support to the new values of Portuguese creation and interpretation, without neglecting the effort to attract and train new audiences through various complementary activities and parallel manifestations, many of them throughout the year, serving as a result of the resulting synergies regular EMPV, QV and CICPV initiatives.