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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

Göreme Guitar and electronics Composed: 2009 Watch / listen Patrik Kleemola , guitar and electronics Live recording from Brinkhall Summer Concerts, May 20, 2010 Score / parts Music Finland Instrumentation and duration Guitar (with optional amplification) and electronics (soundtrack, 2-channel stereo) Duration: 16 minutes Movements I. The Dark Hallway II. The Abyss III. The Mirror IV. Away Commission / dedications Dedicated to Patrik Kleemola First performance Patrik Kleemola, guitar, Markku Klami, electronics, Concert hall of Sibelius Academy, Helsinki, Finland, September 26, 2009 Composer's Notes Short work commentary Göreme was written for guitarist Patrik Kleemol a 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. Long work commentary 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. 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 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. Back

Glow Ensemble Composed: 2005 Score / parts Music Finland Instrumentation and duration Clarinet, horn, trumpet, harp, percussion, piano (2 players) Duration: 6 minutes Movements I. II. III. Commission / dedications Commissioned by the Kemiönsaari Music Guild First performance Henna Jämsä, clarinet, Jukka Rajala, trumpet, Tanja Nisonen, horn, Antti Suoranta, percussion, Lily-Marlene Puusepp, harp, Pasi Helin and Hanna Kosonen, piano, Kemiö Music Festival, Kemiö, Finland, June 29, 2005 Reflections Concert review, published on Turun Sanomat by Tomi Norha July 2, 2005 One of the best aspects of the Kemiö Music Festival is its commitment to supporting new creative music: every year features at least one premiere. This year set a new record with three commissioned works, two of which were heard at this children’s concert. Asta Hyvärinen’s Stride for harp was a study in tone color, deliberately avoiding traditional playing techniques. Harpist Lily-Marlene Puusepp demonstrated that both a candlestick and a harp can create fascinating sonic worlds. Markku Klami’s Glow is a depiction of a natural landscape at the moment of sunrise, and—whether intentional or not—its melodic writing constantly reminded me of the beginning of Part II of Stravinsky's The Rite of Spring . Both of the new works resonated well with the young audience. Even the youngest in our family, still just a baby in arms, listened with curious attention. My five- and nine-year-old sons summed up the concert with poetic simplicity: “Everything was excellent.” Back

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

Etudes Guitar Composed: 2021 Watch / listen Markku Klami: Etudes , performed by Patrik Kleemola Score / parts Edition Wilhelm Hansen Instrumentation and duration Guitar Duration: 35 minutes Movements I. Arioso II. Memoria (Remembrance) III. Riite IV. Agitato nervosamente V. Nocturno. Väre (Ripple) VI. Puro (Stream) VII. Unisono VIII. Avautuen (Unfolding) IX. Kangastus (Mirage) X. Roihu (Blaze) Commission / dedications Written for Patrik Kleemola with funding from Finnish Cultural Foundation and Arts Promotion Centre Finland Publisher Edition Wilhelm Hansen / Wise Music Classical First performance First concert performance of the whole cycle: Patrik Kleemola, guitar, Sibelius Academy International Guitar Conference, Organo hall, Helsinki Music Centre, Helsinki, Finland, February 3, 2023 YouTube premiere Patrik Kleemola released weekly videos of each Etude, accompanied by conversations between him and Klami, on his YouTube channel from September 27 to November 29, 2021. Reflections Article: "Evocative online premieres for Markku Klami's splendid Etudes for guitar from Patrik Kleemola", published on Adventures in Music by Jari Kallio November 15, 2021 Within the realm of contemporary music for guitar, there’s a fascinating new score in town, namely a cycle of ten Etudes (2021) by Markku Klami , written for the Finnish guitarist Patrik Kleemola , who has been premiering the pieces on a weekly basis on his Youtube channel . Begun with the first performance of Etude 1 Arioso on 27 September, the series is to conclude on 29 November with the premiere of Etude 10 Roihu (Blaze) . According to the composer’s foreword to the score published by Edition Wilhelm Hansen , the initial idea for a set of new etudes came up in a conversation between Klami and Klemola back in 2017. As long-time collaborators, both the composer and the guitarist shared the point of view that contemporary music doesn’t play a substantial part in the repertoire of students in music institutes. Adressing the issue, the Etudes aims to contribute to the availability of contemporary music in the repertoires of students, also younger students. Although the cycle has a clear pedagogical function, the set is also conceived as a series of fully-fledged concert pieces for students and professionals alike. The technical difficulty level increases gradually as the cycle proceeds; while the first etudes are accessible for both younger and more experienced students, the last ones are targeted at professionals. In addition, the score provides some flexibility, most notably in terms of tempi, thus making individual pieces suitable for a wider range of performers. In musical terms, the Etudes seek to portray a series of moods and vistas often rooted in various natural phenomena, while maintaining their pedagogical goals. As a result, the cycle contains marvellously evocative musical settings, ideally suited for concert performances. The first two etudes, Arioso and Memoria (Remembrance) focus on different left hand legato techniques, woven together with natural harmonics and ornamentations, giving rise to reflective soundscapes of extraordinary communicativeness. In similar vein, the evocative third etude, Riite , introduces chorale-like chord progressions juxtaposed with one-finger tremolo, played with the left hand’s thumb, inspired by the composer’s experiences on performing Richard Rodney Bennett’s Impromptu No. 2 (1968). The title refers to the old Finnish word meaning a very thin layer of ice on the water’s surface, as reflected by the almost static delicacy of the music. In contrast, the fourth etude, Agitato nervosamente , is conceived in percussive textures, with notes hammered on the fretbard with both hands. A study of interwoven legato and arpeggio figures, Adagio nervosamente fuses technical dexterity with musical narrative in the most inspired manner, showcasing the dual nature of the Etudes with admirable invention. In the ensuing Nocturno , subtitled Väre (Ripples) , aspects of microtonality are introduced by plucking the strings over the fingerboard on the ’wrong’ side of the left hand grip as well as by muting the strings with the right hand while hammering them with the left hand. Summoned by the extended techniques, a series of rippling textures are introduced, to a dazzling effect. The sixth and eighth etudes, Puro (Stream) and Avautuen (Unfolding) salute the 1970s minimalist styles of Steve Reich and Philip Glass , with their arpeggio passages and slowly transforming harmonies conceived as conscious homage. Yet the two etudes are not mere soundalikes of the two pioneer’s music, but ingenious miniatures of their own right, containing some of the most instantly appealing sonic tapestries in the series. Arpeggio passages come at play in the Unisono seventh etude too, this time within the varying rhythms in time-signatures of 7/16 and 8/16 in the outer sections. At the core of the etude lies the Più tranquillo ma poco pesante central section, with its sublime key motif appearing in octaves. A study of parallel melodic lines and repetitive plucked patterns, Unisono bears family relationship with the two etudes surrounding it, while maintaining an identity of its own. The two last etudes, to be premiered online 22 and 29 November, respectively, constitute two very different musical realms. The ninth etude, Kangastus (Mirage) , picks up where Unfolding left, introducing chord progressions realized with a glass slide. Coloured by exquisite combinations of vibrato and tremolo effects, alongside various types of extended techniques, the score of Mirage conjures up sounds far revoved from those typically associated with the guitar, resulting in a wondrously surreal sonic experience. The concluding etude, Roihu (Blaze) , comes off as definite finale . The most extended in the series, the tenth etude is a virtuosic summa, combining several techniques introduced throughout the cycle. A concertante piece at its finest, Blaze lives up to its name, providing the listener and the performer, certainly, with multi-layered challenge and entertainment. As a whole, the Etudes constitutes an inspiring and insightful cycle of musical tableaux, delightfully adding up to the repertoire, in terms of pedagogue as well as concert programming. The ten-piece set brings together several stylistic layers, reworked into a logical musical continuum of evocation and reflection. The online premiere series is conceived in a playlist of circa six-minute video clips, each featuring a premiere performance by Kleemola, followed by a short discussion between the composer and the guitarist, in Finnish, with English subtitles. Following their online firsts, Etudes 6-8 and 10 will receive their live premieres in a series of concert performances by Kleemola in Finland and Italy later this fall. From there, the musical journey will carry on with students and professional performers alike. Interview: "New works for clarinet and guitar by Markku Klami", published on Rondo by Kimmo Korhonen September 1, 2021 “Music is a space where one can go to find calm,” says composer Markku Klami. “I experience composing as a form of escapism from today’s turbulent and hectic world. Over the past ten years, I’ve been particularly interested in how music affects our experience of time and space. My pieces often unfold slowly and have a meditative quality, which I see as a conscious commentary on modern life.” That’s how Markku Klami (b. 1979) describes his artistic starting point. This September, his new music will be featured in two different events. Clair II for clarinet and large ensemble will be premiered on September 16 in Seinäjoki, with Lauri Sallinen as the soloist alongside the Seinäjoki City Orchestra. Beginning September 27, Patrik Kleemola’s YouTube channel will present Klami’s 10-movement Etudes for guitar, released one piece per week. Klami has long-standing collaborations with both Sallinen and Kleemola. One of his career’s key works so far has been the clarinet concerto FUME written for Sallinen, which was included in the jury’s recommendation list at the Uuno Klami Composition Competition in 2009. Other milestones include his first orchestral work Flow for string orchestra (2004), the children’s opera Tulevaisuuden retki ( A Journey to the Future , 2010), and the puppet opera Croak (2016–18). His next large-scale project is a Requiem for violin and orchestra commissioned by Maria Puusaari . Clair II (2020–21), written for Lauri Sallinen, represents the third phase in a series of works built around shared material. “The first piece in the cycle was Clair Sketches (2012) for clarinet, bandoneon, and string quartet, which I wrote for Lauri’s debut concert at the Sibelius Academy. I had leftover material, which I later used in a larger version titled Clair for the same instrumentation. Then Lauri asked if it could be adapted for a slightly larger ensemble including winds. While that would have been possible, the material instead evolved into a new piece. I’d say this final version consists roughly 50/50 of new and previously existing material,” Klami explains. For Klami, finding the right title is an essential part of the creative process. “I can’t even begin sketching unless I have a title and a general vision in mind. The name Clair just came to me—and in some language, it means bright, glowing, or transparent.” Though Clair II is a single-movement piece lasting about fifteen minutes, it contains many contrasting sections. “The clarinet plays a more prominent role than the other instruments, but this is not a traditional concerto setting. At times, the clarinet blends into the ensemble,” says Klami. Collaboration with performers is a vital source of inspiration in Klami’s compositional work. Klami has worked with guitarist Patrik Kleemola for nearly two decades. Guitar is familiar terrain for Klami, as he studied the instrument for about four years during his composition studies, including lessons with Timo Korhonen and Ismo Eskelinen . Kleemola premiered four of the ten Etudes (2020–21) at the Sibelius Museum in Turku in November 2020. Now, the complete cycle will be released on Kleemola’s YouTube channel. Each performance will be accompanied by a conversation video between Klami and Kleemola, discussing both pedagogical and compositional aspects of the music and highlighting the collaborative process between composer and performer. While the premiere format might seem like a response to the pandemic, that wasn’t the case. “This approach suits the COVID era well, but we actually decided back in 2017 that the etudes would be published on YouTube,” Klami notes. Each etude focuses on a specific texture or technical aspect. “I wanted to address certain technical topics, but I also definitely intended for these to work as concert pieces. They can be performed as a full suite or individually.” “The etudes increase in difficulty as the cycle progresses. The first five or six pieces are playable by advanced music students, while the later ones pose challenges even for professionals. The final etude was specifically requested by Patrik for himself, so I was free to include anything as difficult as possible,” Klami explains. “Some etudes also explore unconventional playing techniques, helping performers gain access to the language of new music. Many extended techniques aren’t inherently difficult—they just need to be known.” In addition to the video series, the dissemination of the Etudes is supported by their publication by the esteemed Edition Wilhelm Hansen . Text: Kimmo Korhonen Original article on Adventures in Music , published by Jari Kallio Original interview on Rondo , published by Kimmo Korhonen Composer's Notes Etudes for guitar continues my long collaboration with the Finnish guitarist Patrik Kleemola . The initial idea for a set of new etudes for guitar came up in a conversation I had with Kleemola back in 2017. Our mutual point of view was that contemporary music doesn’t play a substantial part in the repertoire of students in music institutes. In fact, the vast and rich oeuvre of today’s composers is something that students only come across during their academic studies in music. As we see it, the situation is more or less the same around the world. Our wish was to address this issue and contribute to the availability of contemporary music in the repertoires of students, also younger students. Although Etudes is pedagogically designed to target different playing techniques—both traditional and unconventional—my aim was just as much to compose pieces that would be suitable for concert use by students and professional guitarists alike. The result is a collection of ten etudes covering a wealth of moods, styles and sonic possibilities of a solo guitar. The technical difficulty level increases gradually as you progress through the etudes. The first etudes are suitable for younger and more experienced students alike, whereas the last etudes are primarily targeted at professional guitarists and students pursuing their professional degree in music. Since the beginning of this project, Kleemola and I had agreed to make video recordings of each etude, which will be published on Kleemola’s YouTube channel. Targeted to an international audience, each performance video is accompanied by a conversation video with Kleemola and me, where we further explain the pedagogical and musical aims of the individual etudes. These videos will be accessible on Kleemola’s YouTube channel from September 2021 onwards. Back

Värein Piano, 4 percussionists and string orchestra (young players) Composed: 2016 Score / parts Music Finland Instrumentation and duration Piano, 4 percussionists (marimba, 2 xylophones, vibraphone, gran cassa, Tam-tam) and string orchestra (young players) Duration: 11 minutes Commission / dedications Commissioned by The East Helsinki Music Institute for their 50th Anniversary. Dedicated to The Helsinki Strings, their conductor Jukka Rantamäki and the East Helsinki Music Institute on their 50th Anniversary First performance Students of the East Helsinki Music Institute and the Helsinki Strings, cond. Jukka Rantamäki, Temppeliaukio Church, Helsinki, Finland, May 26, 2016 Reflections Concert review, published on Hufvudstadsbladet by Mats Liljeroos May 27, 2016 Naturally, the classics made an appearance—anything less would have been surprising—but significant emphasis was also placed on new music. The program featured no fewer than five works written for the anniversary year, three of which received their world premieres on Thursday. Eetu Ranta-aho , himself a former student and now a teacher at the institution, contributed two pieces: Tuuli nousee for wind ensemble and Tre stycken (with the titles Godot , Adowa , and Zemlya ) for cello and double bass ensemble. Both works were thoughtfully tailored to their respective contexts without compromising musical substance. The same could be said for Matthew Whittall’s Archipelago for guitar orchestra, which caressed the ear with its meditatively flowing harmonies. Walking a Fine Line A central challenge in this context is, of course, that much of today’s art music is too technically advanced for pedagogical use. This is something Markku Klami has sought to address in his sonically sensitive Värein for string orchestra, four percussionists, and piano—a substantial and rewarding piece that offers plenty to sink one’s teeth into, without overwhelming the performers. Composer's Notes This work marked a new kind of opening for me in that it had to be tailored to suit young performers. New music is sometimes perceived as extremely difficult and a challenging terrain that only highly polished professionals and virtuosos can navigate. At times, that image is justified. Still, I believe composers write far too few works for young musicians. Occasionally (though thankfully less often these days), one even hears (self-)congratulatory remarks about how impossibly difficult and demanding a new piece is. Perhaps partly because of this, new music has often remained distant from students at the early stages of their studies. Ironically, it’s the contemporary music scene itself that suffers from this: it may appear narrower, more one-dimensional, and harder to approach than it really is. A composer must be able to adapt their ideas and expression to suit different ensembles and various needs. Perhaps it’s the teacher in me who sees it as a personal mission to make new music available even to younger students… Access to the incredibly rich world of contemporary music should be a right, not a privilege. It’s a great honor for me to hear the premiere of my new work performed by the extraordinarily talented students of the East Helsinki Music Institute and the Helsinki Strings. Among them are many of my current and former students. Värein is dedicated to the Helsinki Strings, their conductor Jukka Rantamäki, and the East Helsinki Music Institute on its 50th anniversary. Congratulations, the East Helsinki Music Institute – may music continue to bring joy, inspiration, and light into the future! Back

Oi surkaa Mixed choir or vocal ensemble Composed: 2010 Score / parts Music Finland Instrumentation and duration Vocal ensemble or mixed choir (8 parts) Duration: 4 minutes Text Poem Nuori karhunampuja (“The Young Bear Hunter”) by Risto Oikarinen First performance Vocal ensemble of Helsinki Chamber Choir, cond. Eric-Olof Söderström, Concert hall of Sibelius Academy, Helsinki, Finland, December 5, 2010 Composer's Notes This piece is based on a poem by Risto Oikarinen , which in turn draws inspiration from Aleksis Kivi’s poem Nuori karhunampuja (“The Young Bear Hunter”). In both texts, I feel that dark and desolate shades of transience and loss rise to the surface. My interest in shifting vocal timbres and sustained tones inevitably emerges in this work as well. So here is a brief atmospheric piece for eight-part vocal ensemble which, despite its somber subject matter, dares to burst into a major triad. My apologies. Back

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

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

Fractured (Memoria II) Decacorde Composed: 2024 Watch / listen Passing Shadows Mari Mäntylä, decacorde World premiere recording Alba Records (2025) Score / parts Music Finland Instrumentation and duration Decacorde Duration: 6 minutes Commission / dedications Commissioned by and dedicated to Mari Mäntylä First performance Mari Mäntylä, decacorde, Lentua hall, Kuhmo Arts Centre, Kuhmo, Finland, January 30, 2025 World premiere recording Passing Shadows - Mari Mäntylä, decacorde (Alba Records, Finland, 2025) Composer's Notes Fractured (Memoria II) is a reworked, or extended version of my Etude No. 2: Memoria (Remembrance) from Etudes for guitar cycle, written for Patrik Kleemola between 2020 and 2021. The idea for this extended version with new musical material, also making use of decacorde's extended bass register, was proposed to me by decacordist Mari Mäntylä in 2024. It didn't take me long to get interested in arranging my original Memoria etude for decacorde's 10 strings. I also shared Mari's feeling that the reworked version should throw in new, contrasting music to the original etude. While the original Memoria 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 between measures 42 and 64, is based on the series of arpeggios and rich use of harmonics, to be interpreted freely and with continuous rubato manner. Back

sight – energy – vague – ocean Orchestra Composed: 2005 Watch / listen The Helsinki University Symphony Orchestra , cond. David Searle Live recording from Sigyn hall of Turku Conservatory of Music, April 21, 2007 Score / parts Music Finland Instrumentation and duration Orchestra: 3(pic).2.3(B.cl).2./4.3.3.1/timp., 2 perc./harp/Str. Duration: 14 minutes Accolades Shared First Prize in the national SävellYS 2006 Composing Competition, organized by the Helsinki University Symphony Orchestra for their 80th anniversary First performance Helsinki University Symphony Orchestra, cond. David Searle, Helsinki University Hall, Helsinki, Finland, April 19, 2007 Reflections Concert review, published on Turun Sanomat by Atte Tenkanen April 23, 2007 There is a sense of ethos in composer Markku Klami’s approach — a promising sign worth holding onto, even along the sometimes rugged path of a composer’s journey. His orchestral work sight – energy – vague – ocean (2005) is marked by broad, richly textured soundscapes that invite the listener to linger within them. What the piece lacks in kinetic motion, it compensates for in atmosphere. Stylistically, I found the composition somewhat dichotomous: its restrained melodicism and lush harmonies seemed carved from different wood. Nonetheless, the performance was delivered with intensity and left an encouraging impression. Composer's Notes sight – energy – vague – ocean is one of my works that was composed within a short period of time. When I began composing the work, I barely had nothing else than just few thoughts and sketches for the overall form of the work. This is why the work was in a state of constant change as the writing process progressed. However, the state of constant change and renewal is familiar to me as a composing environment anyway, as I am not drawn at all to the extremely rigorous and analytical way of working, no matter how much time I have at hand. As far as the overall form is concerned, I strive to follow the convoluted guideline of the images and visions brought into my mind by the title of the work. The title of the work was already ready when I started composing, which is quite unusual for my own works. Despite the ready title and the imagery it evokes, the work is by no means programmatic in the traditional sense, and thus does not tell any particular story. Nonetheless, narrative character is very important to me in the music and I hope that my music will ultimately tell more of itself through music than my attempt to describe it in words. During the rapid composition process, I allowed the work to grow organically, sprawl freely, taking it to where the work itself naturally seemed to go. Therefore, the end result is a variety of musical moments that change (grow) freely from one situation to another. One will hear static and extremely quiet sound surfaces as well as roaring bursts of energetic masses – and pretty much anything in between. Back

REPEAT Flute, electronics and video Composed: 2011 Score / parts Music Finland Instrumentation and duration Amplified flute, soundtrack (2-channel stereo), optional electronics, optional video Duration: 16 minutes Commission / dedications Commissioned by Poike Society and Turku 2011 European Capital of Culture First performance Johanna Kärkkäinen, flute, Markku Klami, electronics, Arttu Merimaa, video, European Capital of Culture 2011, Sibelius Museum, Turku, Finland, November 4, 2011 Back