Search

Cooperation with clarinetist Lucy Abrams Oct 12, 2018 Lucy Abrams performs Markku Klami's TWIRL in Lithuania and Finland Last spring I was delighted to receive an e-mail from clarinetist Lucy Abrams about her plans for her upcoming postgraduate recital at Sibelius Academy of University of Arts in Helsinki. As a part of her recital program she will perform my solo clarinet piece TWIRL alongside other clarinet pieces by Finnish and American composers. Last June Lucy interviewed me for her artistic research and we ended up discussing a variety of subjects on music and also the piece in question, TWIRL. We rehearsed the piece in August, after which Lucy performed TWIRL as a part of her lecture recital at Doctors in Performance Conference at Lithuanian Academy of Music and Theatre, in Vilnius, Lithuania in September. During October and November Lucy will again perform TWIRL, first in Kerava and then in her first postgraduate recital at Helsinki Music Centre in November. For a composer, working with musicians is a vital part of our profession – I would even argue it’s one of the cornerstones of our existence. I’m delighted to have my music performed by stellar musicians such as Lucy. Looking forward to the upcoming performances! If you are around Helsinki on November 13, feel free to attend her concert! Be sure to check these links as well: Our interview from June 2018 Lucy’s lecture at Doctors in Performance Conference < Back to News

Victory over violence – Why I became a composer and the story behind composing Göreme Feb 25, 2019 Markku Klami's Göreme released on streaming platforms Göreme for guitar and electronics has just been released on Spotify and other streaming platforms. For the first time ever, I will publicly tell the rough story of why I became a composer and the sources of inspiration for composing Göreme. Göreme was written for guitarist Patrik Kleemola back in 2009. Having collaborated with him since the early 2000’s, we came up with an idea to combine the sound of a classical guitar with electronic soundscapes. While having a background in electronic music since my teenage years in 1990’s, I had for years concentrated in composing for acoustic instruments and ensembles. Bringing together these two sonic worlds felt intriguing so I was delighted to work on this project. Since its first performances given by Kleemola in Helsinki and Milan in September and October 2009, I have been delighted to witness Göreme being performed – in addition to several performances by Kleemola – by guitarist including Petrit Çeku and Kimmo Rahunen at various festivals and events around Europe, including Zagreb Music Biennale, REBUS Festival, Festival Muzyki Nowej and Turku Guitar Festival. During the composition process of Göreme I was strongly affected by the landscapes and history of Göreme region in Cappadocia, Turkey. The region might be first settled back in the Hittite era between 1800 and 1200 BC. The vast underground buildings carved in stone over the course of several centuries have served as an asylum for people of many cultural backgrounds, escaping from turmoil and oppression. The touching history of the region with its countless stories over the course of several thousands of years made a strong impact on me. Why did this all resonate with me in such a fundamental way? How did a person from somewhat different cultural background and era feel so deeply connected to the turmoil and oppression witnessed in the Göreme region so long time ago? When I think of the history of humanity, one recurring feature throughout the times is, sadly, the ongoing presence of violence in our lives. At some stage in our lives, in a way or another we all encounter violence, be it physical, non-physical, structural or everyday violence. Violence is tightly woven together with power. Whatever the context, whenever power is in jeopardy, violence is bound to appear. Violence is a sign of weakness and fear. Looking back at the time I was composing Göreme, I was going through a rough time (or, to be honest, one of the rough phrases) in my life. On the surface, things probably seemed to be going quite well – I was finishing up my composition studies at Sibelius Academy in Helsinki and eventually graduated a year later, I had (and still have) good friends around me, and I had decent possibilities to concentrate on my strongest passion, composing music. However, I also had to struggle with my personal history that still had a hold on me. Having been a victim of violence in its many forms – physical, non-physical and structural – for the most of my life, I was struggling with devastating feelings of fear, shame, incompetence, lack of vision and insecurity, to name a few. The physical violence I have suffered from since my early childhood for well over a decade, has been life-threatening at its worst. It has recently come to my attention that it is very likely that the violence in question has even resulted in certain permanent injuries. The non-physical violence coming my way was aimed to break my self-esteem and personality. Having lived under this oppression and turmoil, I dare to say I had the ability at least to some extent to relate with the stories and history of Göreme region. The first page of the score of Göreme Violence affects everyone’s lives in one way or another. We can’t escape it. Having experienced it in the hard way myself and still continuing to survive from it, I would like to say that even though violence can destroy lives, it is possible to get out. Whether you are a victim of violence, perpetrator of violent acts or merely a bystander, violence will always have some kind of part in your life. So, I would say it is of utmost importance to learn to live and love life itself despite the omnipresence of violence. It might be easy to close your eyes from it, especially in the case of structural violence found in pretty much any given society in this world. The tricky feature about violence is that in addition to the devastating and horrible effects it has on the lives of the victims, there’s always someone benefiting from it. This is very much the case, especially with the structural violence which appears to be predominantly invisible even in our modern societies. Since violence is in very close connection to power, many people usually on the higher levels of the society benefit from the ongoing oppression. It is vital in their quest for holding on to their power. The fear of losing the power and status you have in the society might make it very easy to close your eyes. Around the time I was composing Göreme, I was very lucky to have a couple of good friends and music in my life. Previously in my life during the hardest times lasting for several years, I had no one to trust, no one to speak to. As cliche as it might sound, I felt totally alone in the world. Luckily enough, even then I had the chance to escape into the world of music. It somehow kept me going and nowadays my life is what I have been wishing it to be. However, that violence I experienced is still very much with me in my life. The feelings of insecurity and incompetence, among others, have never gone away, although I slowly seem to get better at dealing with them. Those feelings don’t control or define me anymore. I’m still in the middle of a healing process and will continue to be for the rest of my life. I am very happy that the basis for my healing is better now than ever before. When asked ”how or why did you became a composer”, I have answered by telling how music has always been in my life and composing has been a calling for me since my early years. While this is totally true, never before I have had the courage to publicly tell about my history and how music has not only been the driving force in my life but also a way to survive through life. When I compose, these aforementioned and other fundamental questions about life, humanity, our existence and experiences of time and world around us come into my mind in a way or another. They always affect the music I deliver into this world. Composing is a vital part of my personal healing process. This is why Göreme holds a special place in my heart, as it was written during the time of turmoil in my life. It kept me going. The transition between the 3rd and 4th movement The names of the four movements of Göreme, entitled ”The Dark Hallway”, ”The Abyss”, ”The Mirror” and ”Away” represent the thoughts and feelings I went through during the composition process. My aim for the dialogue of guitar and electronics was to represent the ever ongoing process between harmony and chaos in the world. From the rough and dark beginning, the music gradually ascends away from the turmoil, still reminding of its existence in the aggressive and loud outburst from the electronic part in the third movement ”The Mirror” before slowly fading away in the last movement. This version of Göreme is a live recording of a performance by Patrik Kleemola on May 20, 2010 at Sigyn hall of Turku Conservatory of Music in Turku, Finland. Hopefully we will get to do a studio recording of Göreme soon. < Back to News

Patrik Kleemola tours with Markku Klami's Etudes in Finland and Germany Jan 22, 2023 Patrik Kleemola gives the concert world premiere of Markku Klami's entire Etudes cycle at the opening concert of Sibelius Academy's International Guitar Pedagogy Conference on February 3, 2023 at the Organo hall of the Helsinki Music Centre. Patrik Kleemola gives the concert world premiere of Markku Klami's entire Etudes cycle at the opening concert of Sibelius Academy's International Guitar Pedagogy Conference on February 3, 2023 at the Organo hall of the Helsinki Music Centre. Although several movements from Etudes have been performed around Finland and abroad by Kleemola and other guitarists as well, and Kleemola released the Etudes cycle on his YouTube channel in the autumn of 2021, this event marks the world premiere of all Etudes in the same concert. German premieres of Etudes at the forum of contemporary music in Oberstdorf, Germany on March 25, 2023 After the concert world premiere on February 3, Kleemola takes the whole Etudes cycle on tour in Finland and Germany, with performances 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 Chapel in Rovaniemi and Feb 21 at the Kaamos Gallery of the Kuusamo House in Kuusamo. On March 25, 2023 Kleemola gives the German premiere of Etudes Nos. 6 "Stream", 4 "Agitato nervosamente", 9 "Mirage" and 10 "Blaze" at the forum of contemporary music festival at Breitachklamm Hall of Oberstdorf House in Oberstdorf, Germany. Etudes was written for Patrik Kleemola with support from The Finnish Cultural Foundation and The Arts Promotion Centre Finland . Sheet music for Etudes is available via Edition Wilhelm Hansen . The concert tour in Finland is supported by The Society of Finnish Composers. See also Etudes on Patrik Kleemola's YouTube Channel Sheet music for Etudes via Edition Wilhelm Hansen Etudes event on the Sibelius Academy website < Back to News

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

Maria Puusaari and Tampere Philharmonic to premiere Markku Klami's Violin Concerto Nov 14, 2025 Markku Klami’s Violin Concerto: A Requiem receives its world premiere at the Tampere Biennale, performed by Maria Puusaari and the Tampere Philharmonic Orchestra under Ruut Kiiski’s baton Maria Puusaari, photographed by Touko Hujanen The world premiere of Markku Klami’s Violin Concerto: A Requiem will take place on April 17, 2026, at Tampere Hall’s Main Auditorium. The work will be performed by violinist Maria Puusaari and the Tampere Philharmonic Orchestra , conducted by Ruut Kiiski . The concert is part of the Tampere Philharmonic’s 2025–2026 season and is presented in collaboration with the Tampere Biennale festival, celebrating its 40th anniversary in 2026. Ruut Kiiski, photographed by Ville Hautakangas Published by Edition Wilhelm Hansen , Klami's Violin Concerto: A Requiem is described by the Tampere Philharmonic as follows: “Markku Klami’s moving Requiem is more than a violin concerto – it’s a personal work of mourning and a haven of hope; a mass for a life that never began.” < Back to News

Markku Klami's Fractured (Memoria II) released on Mari Mäntylä’s album Passing Shadows Jun 10, 2025 Featuring contemporary works for decacorde, the album is out now on Alba Records and includes new music by Tõnu Kõrvits, Markku Klami, René Eespere, Charlotte Bray, Juan Antonio Muro, Mari Sainio, Pekka Jalkanen — and Mari Mäntylä herself. The new album Passing Shadows , released by Alba Records on June 6, 2025, features Finnish decacordist Mari Mäntylä performing a compelling selection of contemporary works for decacorde, the ten-string guitar. Mäntylä, one of Finland’s most prominent performers on the instrument, is known for her broad-ranging concert activity in Finland and internationally, as well as her commitment to recording both classical repertoire and new music. The album includes Markku Klami's Fractured (Memoria II) , commissioned by and dedicated to Mäntylä. This introspective and texturally layered work explores themes of fragmentation and memory through the extended possibilities of the decacorde. Alongside Klami, the album features works by Tõnu Kõrvits, René Eespere, Charlotte Bray, Juan Antonio Muro, Mari Sainio, Pekka Jalkanen , and Mari Mäntylä herself, who contributes one of the album’s original works. Passing Shadows offers listeners a richly varied and deeply expressive journey into the contemporary sound world of the decacorde. The album is available for purchase through Alba Records’ website and can be streamed on all major digital platforms. < Back to News

The first ever large-scale puppet opera in the Nordic countries premieres on March 9, 2018 Mar 6, 2018 The puppet opera "Croak – Or The Unexpected Joys And Perils of Singing" will premiere at Pori Opera on March 9, 2018 The opera Croak – Or The Unexpected Joys And Perils of Singing will premiere at Promenadi Hall in Pori on Friday 9th of March 2018 The opera was written by composers Markku Klami and Maria Kallionpää , and the Pori Sinfonietta orchestra will be led by conductor Nils Schweckendiek . All in all, five soloists, seven puppeteers and thirty puppets along with the Pori Opera Choir will take to the stage during the shows. Croak is a tragic musical fantasy about love, the gift of song, and about the responsibility brought on by talent. Mikhail Brashinsky’s libretto draws its inspiration from the wisdom of classic fairytales. Croak is directed by Anna Ivanova-Brashinskaya , who has worked extensively both as a director and a teacher to promote the art of puppeteering in Finland. The puppets, costumes and the set are designed by Viktor Antonov . The composers Markku Klami and Maria Kallionpää , director Anna Ivanova-Brashinskaya and conductor Nils Schweckendiek were all intrigued by the many layers concealed within the realm of the puppet opera. When working on the score, the composers considered the unique voice qualities of all the soloist, and the musical landscape and the set visuals were created in close interaction with all the artists. In the rehearsals earlier this year, there was a palpable spirit of enthusiasm and curiosity, which came in handy resolving the surprises of the cross-disciplinary collaboration. Croak is set to renew both the opera tradition and the art of puppeteering. The music, the visuals and the choreography have all been made for a contemporary audience. The dialogue between the art forms brings fresh and expressive perspective to the ancient theme of longing for love. The Croak soloists are soprano Anna-Kristiina Kaappola , tenor Joonas Eloranta , countertenor Teppo Lampela , mezzosoprano Merja Mäkelä , and bass-baritone Jouni Kokora . The puppeteers on stage are Johanna Kultala , Maria-Elina Koivula , Anna Nekrassova , Jenni Rutanen , Riina Tikkanen , Lotta Virtanen , and Paula Vilmi . The assistant diretor is Roosa Halme , and the opera was choreographed by Tatiana Gordeeva . The rehearsals of the Pori Opera Choir were led by Ognian Vassilev . The Croak Opera is produced in cooperation with the Pori Opera and the Mixed-Art Association Poike, with Heli Latvala and Tuuli Penttinen-Lampisuo as executive producers. Croak on Facebook Croak on Instagram < Back to News

verweilen released on streaming platforms Dec 18, 2020 verweilen, an ambient soundscape inspired by the coronavirus pandemic has just been released on various streaming platforms. verweilen, an ambient soundscape inspired by the coronavirus pandemic has just been released on various streaming platforms The coronavirus pandemic has hit the music life very hard around the world. In March 2020, just in a matter of days, musicians, ensembles, orchestras, choirs and conductors were forced to cancel their performances until further notice. In addition to performing musicians, the lockdowns around the world have affected other personnel in the field of performing arts. The pandemic has also affected composers in fundamental way. For almost a year now, it has been a very rare event for a composer to have the chance to hear their works performed in public. While live streams of performances have been arranged around the world, they tend to have a distancing element to them. The importance of social interaction between people, performers and their audience has proven to be vital. This notion of the human need for social interaction was also recognized by German-based composer Adrian Oswalt . He has launched a sound exhibition project Art has to be contagious , which emphasizes the importance of people being in connection with each other. He has invited composers and musicians around the world to participate in his project, by composing or improvising a new work based on a melody by him. In August 2020, he contacted me and asked if I would have the chance to take part in his project as well. I was immediately interested in this project, where Oswalt's original melody serves as a base for new works and interpretations coming from different places around the world. Even during the lockdown, the modern technology made it possible for different artists to make a connection via Oswalt's melody. With the ongoing threats and fears the coronavirus is causing, I came up with an idea to compose a somewhat dark and somber ambient soundscape, where my interpretation of Oswalt's original melody can be heard in the distant, eerie sounds of a piano. While the lingering soundscapes of verweilen represent the looming threats of the pandemic, I also hope my music gives solace to the listeners. Luckily enough, the first sound installation event of Art has to be contagious including a world premiere of verweilen was succesfully executed in late September 2020 at SWT-Kulturwerk in Tübingen, Germany, before the pandemic again took a quick turn to worse around the world. Now, as I write this in December 2020, the pandemic situation is still very difficult. As there are plans for further sound installation events of Art has to be contagious , the future with the pandemic is still uncertain. Now, with the release of verweilen on streaming platforms, I hope my music keeps establishing connections and perhaps finds new audiences during the difficult time we live in at the moment. Let's stay healthy and safe! < Back to News

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

Browse Markku Klami’s complete catalogue—from solo to orchestral, vocal to electronic. Discover detailed information, score availability, recordings, composer’s notes, reviews, and interviews related to each work. Music Browse by ensemble Chamber music Electro-acoustic Electronics Opera Orchestra Orchestra / ensemble with soloist Solo Vocal / choral Browse by ensemble Butterfly String quartet (young players) Fractured (Memoria II) Decacorde Ambience I: Burning Clarinet and electronics Violin Concerto: A Requiem Violin and orchestra Elegia Soprano and ensemble into the deep peace Mixed choir Etudes Guitar Clair II Clarinet and large ensemble verweilen Soundtrack Colori Violin Voyage Flute, clarinet and guitar Karui Quartertone clarinet and quartertone accordion Croak Opera: 5 soloists, choir and orchestra Clair Clarinet, bandoneón and string quartet Värein Piano, 4 percussionists and string orchestra (young players) afore Piano aava Guitar and electronics karu Guitar trio ripples Piano Clair sketches Clarinet, bandoneón and string quartet REPEAT Flute, electronics and video red moon String quartet ...and there's always music in the air." Flute and string quartet Tulevaisuuden retki Children's opera: 2 soloists, reciter, ensemble Oi surkaa Mixed choir or vocal ensemble

World premiere of Markku Klami's Fractured (Memoria II) given by decacordist Mari Mäntylä Jan 28, 2025 Mari Mäntylä, the leading Finnish decacordist, will give the world premiere performance of Markku Klami's recent work, Fractured (Memoria II), at Kuhmo Arts Centre's Lentua hall in Kuhmo on January 30, 2025. Mari Mäntylä, the leading Finnish decacordist, will give the world premiere performance of Markku Klami's recent work, Fractured (Memoria II) , at Kuhmo Arts Centre's Lentua hall in Kuhmo on January 30, 2025. Fractured (Memoria II) is a reworked, or extended version of Klami's Etude No. 2: Memoria (Remembrance) from Etudes for guitar cycle, written for Patrik Kleemola between 2020 and 2021 and published by Edition Wilhelm Hansen in 2021. The idea for an extended version with new musical material, also making use of decacorde's extended bass register, was proposed to Klami by decacordist Mari Mäntylä in 2024. While the original Memoria from Etudes for guitar nods at the aesthtetic of Baroque music, its sound is now further enhanced with the new sonic possibilities offered by decacorde's bass strings. The new, contrasting material heard at the beginning of the piece and again in the middle passage of the piece, is based on the series of arpeggios and rich use of harmonics, to be interpreted freely and with continuous rubato manner. Fractured (Memoria II) was commissioned by Mari Mäntylä, and is dedicated to her. < Back to News

Thoughts on truth – Göreme Echoes featured at FBC's The Finnish Music of Our Time series Jul 14, 2020 Markku Klami's Göreme Echoes featured in Aikamme suomalaista musiikkia (The Finnish Music of Our Time) on Finnish Broadcasting Company Markku Klami's Göreme Echoes featured in Aikamme suomalaista musiikkia (The Finnish Music of Our Time) on Finnish Broadcasting Company. The program (in Finnish) can be streamed on Yle Areena until July 14, 2021. The program also includes Pekka Jalkanen's captivating and impressive choir piece Deesis , finely performed by Krysostomos Chamber Choir and their conductor Mikko Sidoroff . Below are some thoughts that have long influenced my compositional work. I see these topics as some of the timeless questions of humanity. They also served as a source of inspiration to me when I was composing Göreme Echoes. Different perceptions and views of truth (and — if I may say so — the certainty of the excellence and correctness of one's own view in relation to other views) have, in my view, always played an important role in conflicts between individuals and communities. In the view of a cultural context, I am inclined to think that every culture, ranging from individuals to bigger communities, have their own idea and understanding of truth. In this respect, it could be argued that every culture, and within it, every individual and the wider community, owns their own truths. This intellectual property is understandably perceived as an important part of identity and therefore as a heritage worth cherishing and something that is to be defended and protected. Throughout history, conflicting views on truth have led to a variety of conflicts, from brawls between individuals to political turmoil, violence, oppression, and even wars. These have been of interest to me for a very long time, and I think that these timeless questions have once again proved to be very topical as I follow the world events today. The discussion on many issues has culminated in a highly polarized debate in which the conflicting parties are not always even willing to listen to each other. In this case, it is no longer a matter of open debate, but of fighting for the excellence and legitimacy of one's own opinions and values in relation to the “wrong” opinions and values of others. The more one learns about the history of mankind, the more events and periods of time similar to the current world situation can be found, regardless of cultures, geographical locations, and period of time. It would seem that we are in an endless motion between different extremes. However, our current way of conversation, most notably on social media is marked by a considerable amount of debate withering away in defense of one’s own opinion and, sadly, often a very limited point of view. At worst cases, this keeps going on, regardless of the facts related to the original topic of discussion. Indeed, the debate on social media often seems like a series of rapid spinal cord reactions, in which the original topic very soon disappears into the background, sometimes even vanishing away. For some, it also seems necessary to be right and defend certain opinions an views as the only truths. This exponentially increases the likelihood of all kinds of conflicts. Sure, these thoughts and observations are not unique and new. Inspired by these thoughts and reflections, I composed Göreme for guitar and electronics, as well as its sibling, an electronic soundscape Göreme Echoes, in which I partly utilized the material of Göreme. The compositional processes of these two works have also been a part of my own healing process and steps on my path to a better future. My personal, practically lifelong experiences of physical, mental, and structural violence, not forgetting discrimination, surely have led me to ponder these topics and issues. In music and composing I have found a reason and strength to be able to go forward, even when in the whole world (or, my very limited views and experiences of the world around me) I have not seen reasons to continue my own existence. It may well be that these things can be heard in one way or another in my music. I know my experiences are not unique. They are true for far too many people regardless of any human quality. Still, many of these truths do not come to light and won’t be heard even today. I have also noticed that the hardships I experienced were not recognized at the time when they happened. Even today, they sometimes are not among the topics which get publicly discussed, nor their existence would be recognized. The eternal, timeless turbulence and turmoil seems to continue further. Perhaps timelessness is always topical. < Back to News