Ambience I: Burning Clarinet and electronics Composed: 2024 Watch / listen Score / parts Music Finland Instrumentation and duration Clarinet and fixed electronics, with optional live electronics Duration: 13 minutes Commission / dedications Commissioned by Lauri Sallinen with support from Sibelius Fund. Dedicated to Lauri Sallinen First performance Lauri Sallinen, clarinet, Markku Klami, electronics, Ainola, Meidän Festivaali, Järvenpää, Finland, July 29, 2024 Reflections Concert review, published on Adventures in Music by Jari Kallio July 30, 2024 To begin with the beginning, let us first examine the afternoon programme at Jean and Aino Sibelius’s Ainola, heralded by the inaugural performance of Markku Klami’s Ambience I: Burning (2024) for clarinet and electronics. Written for Lauri Sallinen , the ca. twelve-minute score builds upon cyclical meditations upon a single, consolidated idea – that of burning and renewal. In his note, the composer refers to the life cycles of the giant sequoias of the Sierras in California, in which fires play an essential part. The first chapter in a projected series of musical works revisiting the composer’s roots in electronic music, Burning weaves its mesmerizing clarinet material together with ambient soundtrack of pre-recorded tapestries, coming up with an instantly appealing synthesis of texture and color. As Klami’s gently transforming spirals unfold, cloud-like sonorities hover in the air, revealing their spectral richness gradually as iterations mount. Accessible in the best sense of the word, the score is far from mere sonic backdrop, thanks to its nuanced construction and intriguing harmonic layout, all brought to life with compelling authority by Sallinen, whose performance was quite magical indeed. One looks forward to Klami’s next installments in the series with eager joy. Composer's Notes Ambience I: Burning for clarinet and fixed electronics is the first piece in series of works written for solo instrument and electronics. The series, carrying a main title "Ambience", refer to my roots in composing electronic music in my teens in late 1990's, and my affection to ambient music. Ambience I: Burning is inspired by the concept of burning. Although burning may lead one's thoughts to fire and its destructive power, the work aims to bring out burning as an event that creates new growth. The increased number of forest fires in recent years is a reminder of man's impact on his environment. At the same time, however, forest fires are a means of survival for various tree species, such as Giant sequoias growing in the Sierra Mountains of California. Ambience I: Burning proceeds from the terrifying destructive power of fire towards the birth of something new and beautiful. Ambience I: Burning was commissioned by Lauri Sallinen and is dedicated to him. The commission was supported by Sibelius Fund. < Back to Music

trompetgeskal Brass quintet Composed: 2006 Score / parts Music Finland Instrumentation and duration Brass quintet Duration: 2 minutes Commission / dedications Commissioned by Finnish Student Health Service, Turku, for their 50th anniversary First performance Finnish Student Health Service Turku 50th anniversary gala, Brass quintet of Sohon Torwet, VPK House, Turku, Finland, February 3, 2006 < Back to Music

Announcing 2022-2023 season highlights Aug 11, 2022 Markku Klami's vocal and instrumental music will be heard on several occasions during the 2022-2023 season. Markku Klami's vocal and instrumental music will be heard on several occasions during the 2022-2023 season. The season highlights include performances of Elegia (2022), set to the poems by Katja Klami , at Tampering Festival in Tampere on August 20, 2022 and Sibelius Music Festival in Loviisa on September 4, 2022. Soprano Tuiki Järvensivu will sing in both performances with Tampering Ensemble and TampereRaw Ensemble , respectively. Tampering Ensemble photographed by Cecilia Damström Elegia is centered around big, fundamental questions about life: the thoughts and feelings aroused by involuntary childlessness, the experiences and emotions engendered in the sole caregiver by the decline of a dear one ravaged by senile decay, and the inexorable advance of climate change and global conflicts. TampereRaw photographed by Jaakko Jaskari Elegia was commissioned by Tampere Biennale and received its first performance, given by Tuiki Järvensivu and TampereRaw, at Tampere Biennale in April 2022. The Finnish Broadcasting Company nominated Elegia to The International Rostrum of Composers in 2022, organized by The International Music Council . The commission of Elegia was supported by the Sibelius Fund. Patrik Kleemola photographed by Vesa Aaltonen Guitarist Patrik Kleemola will perform a selection of Etudes (2021), a work commissioned by and dedicated to him, at the Turku Guitar Festival on October 28, 2022 and WEW Contemporary Music Festival on November 22, 2022. During February and March 2023, Kleemola tours with the entire Etudes cycle in Finland and gives the German premieres of Etudes Nos. 6, 4, 9 and 10 at the forum of contemporary music festival in Oberstdorf, Germany. The concerts in Finland feature the entire Etudes cycle, with the concert world premiere at the opening concert of Sibelius Academy's International Guitar Pedagogy Conference at Organo hall of the Helsinki Music Centre on February 3, 2023. After the premiere, Kleemola performs the Etudes on Feb 8 at The Church of Holy Cross in Rauma, Feb 10 at the Pyynikki hall of the Tampere Conservatory of Music, Feb 17 at the Concert hall of the Helsinki Conservatory of Music, Feb 19 at the Korkalovaara Chappel in Rovaniemi and Feb 21 at the Kaamos Gallery of the Kuusamo House in Kuusamo. The 10-movement cycle of Etudes was published by Edition Wilhelm Hansen in 2021 and released on Kleemola’s YouTube channel over a period of 10 weeks from September to November 2021. The videos contain a performance of each Etude, accompanied by a conversation with Kleemola and Klami. The commission of Etudes was supported by The Arts Promotion Centre Finland and The Finnish Cultural Foundation. Audite Chamber Choir photographed by Aura Nukari Klami’s recent work for mixed choir, into the deep peace (2021), set to the texts by John Muir , will get its world premiere and five subsequent performances on Audite Chamber Choir’s 30th anniversary tour, conducted by Jani Sivén . The tour starts in Turku on November 12, 2022, followed by five more concerts in Tampere (February 10, 2023), Jyväskylä (February 11, 2023) and Helsinki (March 10 & 11 and April 6, 2023). The Finnish Broadcasting Company will record and air the concerts in Helsinki on March 10 and 11, 2023. The commission of into the deep peace was supported by The Jenny and Antti Wihuri Foundation. Audite Chamber Choir’s anniversary tour portrays six new choral works written for Audite by composers Alex Freeman , Anna Huuskonen , Markku Klami, Finn Shields , Jani Sivén and Matthew Whittall . Each work is inspired, in different ways, by nature and the human relationship with nature and its effects on nature. The concert tour, featuring light design by Ainu Palmu , takes the audience on a journey to the Sierra Mountains in California, to the depths of the oceans and reflects on human activity in relation to nature and our responsibility towards the earth, our surrounding environment and future generations. < Back to News

Tulevaisuuden retki Children's opera: 2 soloists, reciter, ensemble Composed: 2010 Score / parts Music Finland Instrumentation and duration Children's opera: soprano, tenor, reciter, ensemble: clarinet, horn, percussion, piano, violin, cello Duration: 1 hour Libretto Libretto by Emma Puikkonen Acts / scenes One act: Introduction and eight scenes. Scene 7 includes two alternative versions, with the audience choosing during the performance which one will be performed. Commission / dedications Commissioned by ArtSoppa Society and Turku 2011 European Capital of Culture First performance Kirsti Tuominen, soprano, Timo Turunen, tenor, chamber ensemble, cond. Pasi Helin, Linna Theatre, Turku Music Festival & European Capital of Culture 2011, Turku, Finland, August 6, 2011 Reflections Concert review, published on Turun Sanomat by Katariina Norontaus February 2, 2011 A Children’s Opera That Doesn’t Underestimate Its Audience An unusual world premiere took place on Tuesday morning at Pääskyvuori School. The children’s opera Tulevaisuuden retki ("Journey to the Future"), part of the European Capital of Culture programme, tells the story of Jaspriina Akuliina Harvahammas Möttönen, who is given a mission by the President: to travel into the future and bring back something exciting, something to brighten up everyday life—and a pickle jar opener. Produced by the Turku 3011 Children’s Opera team and ArtSoppa Society, the opera aims to introduce children to the world of modern opera both as audience members and creators. Workshops related to the opera were held last semester in twelve elementary schools. “We specifically wanted to include schools without any special emphasis or focus areas, and that are located outside the city centre,” says producer Krista Leivo . Six classes participated in composition workshops, while three classes contributed to the set design and libretto. The latter groups’ creative input is strongly reflected in the final production. A Libretto with Child's Logic An hour of modern atonal music might sound like a tough listen—even for most adults. But composer Markku Klami , who composed Tulevaisuuden retki , has found through teaching and workshops that children tend to approach music with more openness than adults. “That’s why I didn’t try to write music that sounded like children’s songs—I approached it from a completely different angle.” Director Tapio Väntsi is also pleased with how the children received the hour-long performance. “There was some fidgeting in the front row—that’s where the youngest kids were sitting. One teacher even said there haven’t been many performances that students have watched so still and focused.” Emma Puikkonen , who wrote the libretto based on texts by the children, noticed that the same things that made them laugh in class also worked in the audience. < Back to Music

Lauri Sallinen premieres Markku Klami's Ambience I: Burning at Meidän Festivaali Jul 21, 2024 Lauri Sallinen, one of the most in demand Finnish clarinetists, will give the world premiere performance of Markku Klami's recent work, Ambience I: Burning, at Meidän Festivaali in Järvenpää on July 29, 2024. Lauri Sallinen , one of the most in demand Finnish clarinetists, will give the world premiere performance of Markku Klami's recent work, Ambience I: Burning , at Meidän Festivaali in Järvenpää on July 29, 2024. Ambience I: Burning for clarinet and fixed electronics is the first piece in series of works by Klami, written for solo instrument and electronics. The series, carrying a main title "Ambience", refer to Klami's roots in composing electronic music in his teens in late 1990's, and his affection to ambient music. As the title suggests, Ambience I: Burning is inspired by the concept of burning. Although burning may lead one's thoughts to fire and its destructive power, Klami's work aims to bring out burning as an event that creates new growth. The increased number of forest fires in recent years is a reminder of man's impact on his environment. At the same time, however, forest fires are a means of survival for various tree species, such as Giant sequoias growing in the Sierra Mountains of California. Ambience I: Burning proceeds from the terrifying destructive power of fire towards the birth of something new and beautiful. Ambience I: Burning was commissioned by Lauri Sallinen, and is dedicated to him. The commission was made possible with the support from the Sibelius Fund. < Back to News

FMQ publishes Markku Klami's column on the significance of arts and culture for humanity Mar 30, 2025 In this deeply personal column, Markku Klami reflects on how music became his survival strategy, why composing remains his greatest calling, and how culture can give us a reason to live. On my music and beyond: Composing as a means of survival In this deeply personal column, Markku Klami reflects on how music became his survival strategy, why composing remains his greatest calling, and how culture can give us a reason to live. “Art fosters hope, opens up new perspectives and brings us together”, writes Klami. Read the whole column on Finnish Music Quarterly's (FMQ) website. FMQ started as a printed magazine (the Finnish Music Quarterly) in 1985, addressing all aspects of the Finnish music scene. Since 2005, it has also been serving its readers online. Today, FMQ publishes new items – articles, columns and reviews – on its website on a regular basis. A special issue addressing a specific topic through several articles is released four times a year. The articles in FMQ are written by experts on music both Finnish and foreign. In the course of its history, FMQ has also produced special issues in German, French, Swedish and Japanese. Since 2023, FMQ has appeared exclusively in a digital format. From 2017 to 2022, a printed edition featuring a compendium of the year's online articles was released annually in December. FMQ is published by Music Finland . Its partners are the Sibelius Academy , the Society of Finnish Composers and the Finnish Musicians’ Union . The publication is also supported by the Finnish Ministry of Education and Culture, as well as by Kopiosto copying remunerations (from the share of the Society of Finnish Composers). Additionally, publication in 2025 is supported by the Alfred Kordelin Foundation. < Back to News

Karui Quartertone clarinet and quartertone accordion Composed: 2018 Watch / listen Helmi Malmgren , quartertone clarinet, Veli Kujala , quartertone accordion Live recording from Uuden Musiikin Lokakuu Festival, September 29, 2018 Score / parts Music Finland Instrumentation and duration Quartertone clarinet and quartertone accordion Duration: 11 minutes Commission / dedications Commissioned by Lauri Sallinen and Veli Kujala with funding from the Sibelius Fund First performance Helmi Malmgren, clarinet and Veli Kujala, quarter tone accordion, Uuden Musiikin Lokakuu Festival, Tulindberg hall, Oulu Music Centre, Oulu, Finland, September 29, 2018 Composer's Notes For me, Karui is a leap into a new area, a world of microintervals. In some of my previous works I have occasionally used microintervals to color the twelve-tone equal temparament, but in the past microintervals – in the case of Karui , the equally tempered quarter tones – have not played a significant role in my music. My growing interest in the power of music to influence the receiver's perceptions and experiences of time and surroundings around themselves has led me to focus on the resonant qualities of the tones. Microintervals bring a lot of new dimensions into the play. With the melodic and harmonious possibilities offered by the quarter tone clarinet and the quarter tone accordion, I became mostly preoccupied with fragile sound surfaces, and the more or less traditional development of the musical material is deliberately left out. The slowly moving microtonal harmonies and melodic figures invite the listener to come to a halt – to stop and dwell into the fragile sonic world of Karui . I would like to warmly thank Lauri Sallinen and Veli Kujala for the commission and the Sibelius Fund for their support towards this commission and the Finnish Cultural Foundation for supporting my work during the year 2018. < Back to Music

verweilen Soundtrack Composed: 2020 Watch / listen Instrumentation and duration Soundtrack (2-channel stereo) Duration: 7 minutes First performance Sound installation of Art has to be contagious project, SWT-KulturWerk, Tübingen, Germany, September 25-27, 2020 Composer's Notes Art has to be contagious is a project by German composer Adrian Oswalt . The project got its inspiration of the mankind living connected to each other as social animals. During the difficult times with Covid pandemic, art connects people all around the world. Oswalt has invited composers and musicians around the world to contribute a composition or improvisation based on a melody by him. The project will be executed as sound installations at various venues, the first one being in Tübingen, Germany in September, 2020. My work verweilen (English: lingering) is a slow, lingering soundscape portraying the feelings and thoughts I have had during the pandemic: our global society has come to a halt as the virus is spreading around the world. Amid the crisis people have noticed the importance of connection with each other. The slowly unfolding music reminds of the lingering fears and threats the Covid pandemic is causing to our global society, and hopefully gives some solace with its mostly soft and delicate soundscape. < Back to Music

Clair sketches selected as a finalist in Kaleidoscope's 2019 Call for Scores in Los Angeles Oct 23, 2019 Markku Klami's Clair sketches for clarinet, bandoneón and string quartet has been selected as one of the finalists in Kaleidoscope Chamber Orchestra's 2019 Call for Scores. Kaleidoscope received over 2200 entries from composers from 90 countries around the world in their recent Call for scores for their upcoming 6th concert season in 2019-2020. Markku Klami's Clair sketches for clarinet, bandoneón and string quartet has been selected as one of the finalists in Kaleidoscope Chamber Orchestra's 2019 Call for Scores. Kaleidoscope received over 2200 entries from composers from 90 countries around the world in their recent Call for scores for their upcoming 6th concert season in 2019-2020. Lauri Sallinen, clarinet, Henrik Sandås, bandoneón, Pasi Eerikäinen, violin, Annemarie Åström, violin, Jussi Tuhkanen, viola and Markus Hohti, cello, giving the world premiere of Clair sketches at Helsinki Music Centre's Camerata hall, May 2012 Kaleidoscope is a Los Angeles -based chamber orchestra working without conductor. As it is stated on their website, their mission is to enrich lives through exhilarating concert experiences, artistic excellence, musician leadership and connecting with the diverse communities of Los Angeles. They envision a world where their commitment to a collaborative artistic process results in profound orchestral performances that inspire people to pursue cooperation and artistry in their own creative, professional and personal lives. I'm so grateful for this fine ensemble to select one of my works in the finals of their Call for scores and wish to congratulate all the other finalists. I'm also very happy to spot a couple of familiar faces in our finalist group. Having been following the great work Kaleidoscope has been doing in the Los Angeles area in recent years, it is a great honor for me to be in the final round for their upcoming concert season. Kaleidoscope will announce their complete 6th concert season soon, so stay tuned for updates! < Back to News

FUME Clarinet and orchestra Composed: 2008 Watch / listen Lauri Sallinen , clarinet, Avanti! Chamber Orchestra , cond. Jani Telaranta Live performance from Ung Nordisk Musik Festival, September 24, 2010 Score / parts Music Finland Instrumentation and duration Clarinet and orchestra: 2(A.fl.).2(E.hn).2(B.cl).2/2.2.0.0./perc./Str. (minimum: 6.6.5.4.2., preferred: 8.6.6.4.3.) Duration: 23 minutes Movements I. ...bursting into... II. ...a serenade... III. ...to one out of reach, Commission / dedications Dedicated to Lauri Sallinen Accolades Selected to the Jury's list of recommended works in the 2nd International Uuno Klami Composition Competition 2009 First performance Lauri Sallinen, clarinet, Avanti! Orchestra, cond. Jani Telaranta, Ung Nordisk Musik: COLLISION! Festival, Concert hall of the Sibelius Academy, Helsinki, Finland, September 24, 2010 Reflections Concert review, published on Hufvudstadsbladet by Mats Liljeroos September 26, 2010 Markku Klami’s FUME for Clarinet and Chamber Orchestra stood out as a case of its own. The Turku-born composer (b. 1979) clearly possesses more than enough talent, and the piece was crafted with considerable professional skill. A name worth remembering. The same applies to clarinetist Lauri Sallinen , who handled the demanding solo part with effortless technique and a refined tone. Avanti! performed with the attentiveness and the kind of sonic brilliance one has come to associate with the ensemble in this type of repertoire. Composer's Notes FUME was my first concerto work and I wrote it especially for Lauri Sallinen . This marvellous musician (and also a very nice person) was of much help during the writing process of the work. I'm forever grateful for all his comments on my ideas and writings during the composing process. FUME was selected to the Jury's list of recommended works in the tremendously successful 2nd International Uuno Klami Composition Competition in 2009. The premiere was given by Lauri Sallinen and Avanti! Chamber Orchestra, conducted by Jani Telaranta at Ung Nordisk Musik Festival in 2010. FUME is dedicated to Lauri Sallinen. < Back to Music

Butterfly String quartet (young players) Composed: 2024 Score / parts Music Finland Instrumentation and duration String quartet (for young players) Duration: 6 minutes Movements I. Wings II. The flight Commission / dedications Commissioned by Pirkanmaa Music Institute with funding from Finnish National Agency for Education Composer's Notes Butterfly for string quartet was commissioned by the Pirkanmaa Music Institute as part of a project funded by the Finnish National Agency for Education, aimed at commissioning new pedagogical music. As part of this project, new music was commissioned from Finnish professional composers, suitable for inclusion in the repertoire of younger players. Butterfly is a two-movement piece for string quartet, where students can explore potentially new notation and playing techniques. In the first movement, Wings , each player will have the opportunity to perform not only together with others but also independently as part of the ensemble. This section focuses on ensemble playing, not only in the traditional sense but also with some freedom, encouraging the players to experiment boldly with departures from the conventional, while still following the others. In the second movement, The flight , the music alternates between playing with the bow and pizzicato. Playing techniques such as col legno battuto and Bartók pizzicato also appear. For the performers: In the first part, you can imagine the slow movement and unfolding of the butterfly’s wings. In the second part, you’ll be part of the butterfly’s flight. Feel free to take liberties and immerse yourselves – and enjoy the journey! < Back to Music

Elegia Soprano and ensemble Composed: 2022 Watch / listen Tuiki Järvensivu , soprano, TampereRaw Ensemble Live recording from Tampere Biennale Festival, April 7, 2022 Recording by the Finnish Broadcasting Company. Released with permission from the Finnish Broadcasting Company. Score / parts nkoda Music Finland Instrumentation and duration Soprano and ensemble: flute, clarinet, violin, cello, piano Duration: 13 minutes Movements I. Minä kuvittelin sinulle elämän (I imagined a life for you) II. Hiipuen (Fading) III. Palava maa (The burning earth) Text Poems by Katja Klami Commission / dedications Commissioned by Tampere Biennale Festival 2022 with support from Sibelius Fund First performance Tuiki Järvensivu, soprano, TampereRAW Ensemble: Anna Angervo, violin, Maija Juuti, cello, Seppo Planman, flute, Janne Pesonen, clarinet, Ville Hautakangas, piano, visualization by Arttu Nieminen, Tampere Biennale Festival, Tampere Old Church, Tampere, Finland, April 7, 2022 Reflections Concert review, published on Kulttuuritoimitus by Kikka Holmberg April 8, 2022 The first premiere of the evening was Elegia (2022), a commission by Tampere Biennale, composed by Markku Klami to poems by Katja Klami . Scored for soprano, flute, clarinet, violin, cello, and piano, the piece formed a beautiful union of music and text. Markku Klami does not lean on overtly modernist means of expression, which leaves generous space for the poetry to resonate. The musical textures unfold harmoniously and richly. Tuiki Järvensivu’s soprano shimmered with colour, and the highest notes, in particular, blossomed beautifully in the acoustics of the Old Church. Katja Klami’s understated yet powerfully expressive poems emerged as both timeless and timely—deeply affecting in their simplicity. Concert review, published on Hufvudstadsbladet by Mats Liljeroos September 5, 2022 Elegia for soprano and instrumental quintet, composed by Markku Klami and premiered earlier this year, leans somewhat closer to a traditional modernist idiom. Set to poems by his wife, Katja Klami , the work’s expressive and at times breathtakingly beautiful musical language left a thoroughly personal impression. Tuiki Järvensivu’s wonderfully supple and resonant soprano soared effortlessly on its elegiac wings. Concert review, published on Jälkikaikuja Korvakäytävillä by Jari Hoffrén April 22, 2022 The compactness of the Old Church as a performance space seemed to be echoed in the profile of the evening’s program. Markku Klami’s Elegia received its world premiere—a work that listeners could prepare for in advance through the composer’s own program notes available online. This leads us to an essential question about the origins of music and the elements—bodily experience included—that, in line with the festival’s theme, shape the landscapes emerging in a composer’s mind. In this work, written to texts by Katja Klami (the composer’s spouse), various forms of loss are explored. The first movement, Minä kuvittelin sinulle elämän (“I imagined a life for you”), begins from above—only to let go and descend. Amid this stripped-back atmosphere comes a brief moment of bubbling, sparkling energy. A dramatic shift follows, painting a vision of imagined love, exuding bittersweet brightness: “the first love, piercing and enchanting.” In the second movement, Hiipuen ("Fading"), the disintegration of identity and mind is examined, slowly unraveling—“your self is being stripped from you.” It feels as though the fate-knocking piano asks whether it might be time to surrender. The movement ends with a beautiful solo passage. “I clench the soil in my hand. How can mercy hurt so much?” asks soprano Tuiki Järvensivu , touchingly. The third movement, Palava maa (“The burning earth”), drifts into a kind of cosmic mood—perhaps because there’s nothing else left. The musical language here leans toward stylized resignation, steering clear of bombastic dramatization or destructive roaring. A central message is repeated: “there are only great fiery winds / and the fading flight of life.” The glimmer fades, and the astral piano brings this premiere to a resonant close. The music, emotionally charged and true to its own voice, serves these songs well. — The composer later shared his delight with the performance and specifically mentioned how deeply moved he was by the vocal delivery. Composer's Notes Translation by Susan Sinisalo Elegia (Elegy) was commissioned by the Tampere Biennale festival. The commissioner's wish was that the texts in my work would focus on human destinies. Inspired by this desire, my interest focused on human destinies at both personal and global levels. The first movement, I imagined a life for you , concentrates on the thoughts and feelings aroused by involuntary childlessness. Longing, grief, hope and sadness merge from time to time with emotional turmoil: Why us? Could our dream still come true? Might we take part in the miracle of a new life, and follow the growth and development of that life? These and many other thoughts must surely face anyone suffering from involuntary childlessness. In the second movement, Fading , the music solidifies into slow, lingering and at times crumbling timbres. The words focus on the experiences and conflicting emotions engendered in the sole caregiver by the decline of a dear one ravaged by senile decay. The gradual decline of another's personality causes great anguish. Impending death may therefore also appear to be a liberating end to that person's demise. The short, laconic text of the last movement, The burning earth , strikes to the very heart of the inexorable advance of climate change and global conflicts. What makes individuals and even large communities act in ways that erode the prerequisites for a safe and peaceful life and a sustainable future? Faced with these huge questions, we often feel helpless, and in our own personal lives the chances of influencing seem small, even negligible. We are obliged to observe the great change as mere bystanders, as it were. Elegia was composed with a grant from the Sibelius Fund of The Society of Finnish Composers. I warmly thank my wife, Katja Klami , for her moving poems, the Tampere Biennale for its commission, the Sibelius Fund for its support, and the musicians who premiered my work for their magnificent collaboration. < Back to Music