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TWIRL Clarinet Composed: 2008 Watch / listen Lucy Abrams-Husso performing TWIRL at Helsinki Music Centre's Organo hall in November 2018 Score / parts Music Finland Instrumentation and duration Clarinet Duration: 7 minutes Commission / dedications For Juulia and Christian First performance Original version: Marko Portin, clarinet, Time of Music Festival, Viitasaari, Finland, July 8, 2008 Final version: Lauri Sallinen, clarinet, Concert of Ears Open Society, Sibelius Academy, Helsinki, Finland, November 29, 2008 Reflections Lucy Abrams-Husso's work commentary on TWIRL for her first doctoral recital at the Sibelius Academy November, 2019 Markku Klami composed TWIRL in 2008 while still studying at the Sibelius Academy. The inspiration for TWIRL was primarily the clarinet itself, especially the dynamic and sonorous possibilities of the instrument. The work has a gentle start, through which Klami leads the listener to a quick and sparkling introduction to clarinet's timbral qualities. The action-packed and lively parts quickly change into soft, mysterious episodes. TWIRL was written at a stage in Klami's studies where he felt his creativity was "blocked"; according to his own words, he felt "stuck" and unable to compose. As a performer, I take this aspect into consideration when I play, trying to sound like I'm experimenting and improvising and developing the music as I play. The listener may be able to sense how Klami's creative process unfolds throughout this work as he plays with both form and instrumentation. Back

In singleness... Soprano and orchestra Composed: 2007 Watch / listen Eija Räisänen , soprano, Avanti! Chamber Orchestra , cond. Magnus Lindberg Live recording from Avanti! Summer Sounds Festival, June 29, 2007 Score / parts Music Finland (original version) Music Finland (alternative version) Instrumentation and duration Original version: Soprano and orchestra: 1.1.1.1/2.2.2.0/perc./harp/pno./Str: 6.6.4.4.2 Duration: 3 minutes Alternative version: Soprano and orchestra: 1.1.1.1/2.2.1.1/perc./harp/pno./Str: 5.4.3.2.1 First performance Eija Räisänen, soprano, Avanti! Chamber Orchestra, cond. Magnus Lindberg, XXII Avanti! Summer Sounds Festival, Art Factory, Porvoo, June 29, 2007 Reflections Concert review, published on Helsingin Sanomat by Hannu-Ilari Lampila November 26, 2007 Markku Klami has written an expressive and lyrical soprano solo in his work In singleness… , set to the text of Shakespeare’s Sonnet 8. The orchestra serves as a kind of mental landscape for the singing self, where the poem’s various meanings shimmer from conflict to harmony. Composer's Notes In singleness... was written for a workshop at Avanti! Summer Sounds 2007 Festival. The music is a setting to Sonnet No. 8 "Music to hear" by William Shakespeare. Due to the maximum duration of only three minutes given for the compositions, I had to omit the first chapter of the Sonnet No. 8 from the soprano part. Experimenting with four-note all-interval chords when composing this work, I managed to find ways to bring together the pitch-class oriented harmonies and melodic motifs with my leaning onto somewhat neo-romantic qualities in music, to which I was drawn to at the time. Back

Clair Clarinet, bandoneón and string quartet Composed: 2017 Watch / listen A snippet from the general rehearsal of Clair at Kaivos Festivaali 2017 Score / parts Music Finland Instrumentation and duration Clarinet, bandoneón and string quarter (with optional dancers) Duration: 17 minutes Commission / dedications Commissioned by Kaivos Festival with funding from Madetoja Foundation. Dedicated to Lauri Sallinen First performance Lauri Sallinen, clarinet and movement, Henrik Sandås, bandoneón, Nordlyd String Quartet (Aliisa Neige Barrière, violin, Alexandra Peral, violin, Ester Forsberg, viola, Andreas Øhrn, cello), Kaivos Festival, Kiisuteatteri, Outokumpu, Finland, September 9, 2017 Reflections Concert review, published on Turun Sanomat by Kalle Karjalainen November 21, 2024 Markku Klami’s Clair opened the concert with an extended sonic field, where the clarinet’s long, sustained tones created a lingering and mysterious atmosphere. At times reminiscent of Chico Hamilton’s jazz soundtracks, the piece commanded stillness and presence—inviting the listener inward amid the passing traffic and storm outside. Composer's Notes Clair is part of a series of works built on shared musical material. The first piece in the series, Clair sketches (2012), was written for Lauri Sallinen’s debut recital at the Sibelius Academy. Later, Lauri and the Kaivos Festival commissioned a new work for the same ensemble—clarinet, bandoneón, and string quartet—which I composed using leftover material from the original piece. The next installment in the series is Clair II , composed between 2020 and 2021. It was commissioned by the Seinäjoki City Orchestra and premiered in September 2021 with Lauri Sallinen as soloist. Although these pieces form a connected series, they clearly stand apart from one another as individual works. The musical relationships between them are often loose and subtle, revealing shared roots only in fleeting gestures or textures rather than in any overt thematic continuity. Back

Clair II Clarinet and large ensemble Composed: 2021 Score / parts nkoda Music Finland Instrumentation and duration Clarinet and large ensemble: 1.1.1.1/1.0.0.0., Str. (1.1.1.1.1.) Duration: 16 minutes Commission / dedications Commissioned by the Seinäjoki City Orchestra. Dedicated to Lauri Sallinen First performance Lauri Sallinen, clarinet, the Seinäjoki City Orchestra, Seinäjoki hall, Seinäjoki, Finland, September 16, 2021 Reflections 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 interview on Rondo , published by Kimmo Korhonen Composer's Notes Clair II has been in the making for quite some time. Back in 2012, Lauri Sallinen commissioned and premiered my work Clair sketches for clarinet, bandoneón and string quartet in his debut concert at The Sibelius Academy in Helsinki. During the composition process of Clair sketches I ended up having a bunch of material that didn't make it to the final piece. Five years later in 2017, some of that extra material, combined with the material from Clair sketches served as a basis for a new work, Clair , for the same ensemble, now with the addition of optional dancers. Clair was premiered in 2017 by Lauri Sallinen, Henrik Sandås and the Nordlyd String Quartet from Oslo, Norway at Kaivos Festival in Outokumpu, Finland. Some years later Lauri proposed an idea to arrange Clair for a bigger ensemble, namely the core ensemble of The Seinäjoki City Orchestra, composed of a wind quintet and a string quintet. This intriguing idea led to a commission from The Seinäjoki City Orchestra. What begun as an arrangement project turned out to be a new work, Clair II for clarinet and large ensemble. Clair II combines material from both Clair sketches and Clair , with completely new material added to the whole. Clair II was composed in late 2020 and the beginning of 2021 in the midst of the coronavirus pandemic. The original premiere date planned for January 2021 had to be rescheduled due to the pandemic regulations. Lauri Sallinen premiered the work with The Seinäjoki City Orchestra on September 16, 2021, at the Seinäjoki Hall in Seinäjoki, Finland. My warmest thanks to Lauri for his collaboration with this and many earlier works of mine and to The Seinäjoki City Orchestra for the commission. Back

...and there's always music in the air." Flute and string quartet Composed: 2011 Score / parts Music Finland Instrumentation and duration Flute and string quartet Duration: 15 minutes Movements I. Shadow of a twisted arm across my house II. Garden in the city of industry III. I see myself Commission / dedications Hommage to David Lynch First performance Johanna Kärkkäinen, flute, Into String Quartet: Linda Suolahti, violin, Sirja Puurtinen, violin, Mari Viluksela, viola, Jarkko Launonen, cello, Ajassa 2011! Festival, Kapsäkki Music Theatre, Helsinki, Finland, March 15, 2011 Composer's Notes March 15, 2011 The immaculately polished façades and the simmering tensions and traumas beneath—sometimes culminating in harrowingly perverse events and devastating human fates triggered by the collapse of those façades—seem to lie at the very core of David Lynch’s (1946-2025) surreal and dreamlike cinematic storytelling. They are the fuel that keeps his creative flame alive. Onto this stage, where the theatre of self-centered—thus deeply human—artificiality and superficial well-being inevitably collides with merciless truth, Lynch casts game pieces in the form of characters that are often absurd and highly stylized. Yet these characters, with painful precision, illuminate the deepest traits of the human condition. Crippled by their own weaknesses, or sometimes crushed by faceless structural violence, they reflect a bleak picture of the society we live in even today. In Lynch’s stark visions, the horror of recognizing—or denying—truth can, at its worst, completely shatter the mind, leaving one lost in the shadows, as happens to Fred in Lost Highway (1996). Often, physical death becomes the only release from pain and hopeless dead ends. “In heaven, everything is fine,” sings a woman in Lynch’s first feature-length film Eraserhead (1976). Similarly, in Mulholland Drive (2001), Diane, overwhelmed by a bleak past and unbearable guilt over a horrifying deed, chooses irreversible detachment from her suffering and burdens. What remains is only eternal peace and silence— silencio . Having followed Lynch’s films, television projects, paintings, photography, writings, and other endeavors since the 1990s, I’ve long been drawn to the idea of exploring the intense thoughts and emotions these works have stirred in me through musical means—not by interpreting, explaining, or deconstructing them, but by creating a kind of “musical state of being,” a personal sonic response or echo to the images and feelings they’ve evoked in me. I recall already considering such a project in the autumn of 2003, so the idea has been gestating for a long time. The process has started and stalled many times, and the instrumentation has changed repeatedly along the way. Other, more clearly defined projects have often taken priority, and my thoughts on this work have remained in constant flux. Yet the idea always returned to me, resurfacing from time to time. A fitting opportunity to finally realize the piece arose when I was invited to contribute a work to this evening’s concert. The instrumentation changed once more, but the combination of flute and string quartet felt like a natural fit for the ideas that had been with me for so many years. This piece is dedicated, with my deepest respect, to the great visionary, thinker, and humanist David Lynch. Back

Croak Opera: 5 soloists, choir and orchestra Composed: 2018 Score / parts Music Finland Instrumentation and duration Opera: 5 soloists (soprano, tenor, mezzo-soprano, counter-tenor, and bass baritone), SATB choir, orchestra: 2.2.2.2/2.2.0.0./perc./Str. Duration: 2 hours Libretto Libretto by Mikhail Brashinsky Acts / scenes Opera in two acts with 16 scenes Commission / dedications Commissioned by Mixed Art Society Poike and Pori Opera Society First performance Directed by Anna Ivanova-Brashinskaya Puppets and visual design by Viktor Antonov Joonas Eloranta, tenor, Anna-Kristiina Kaappola, soprano, Teppo Lampela, counter-tenor, Merja Mäkelä, mezzo-soprano, Jouni Kokora, bass-baritone, Pori Opera Choir, Pori Sinfonietta, cond. Nils Schweckendiek, Promenade Hall, Pori, Finland, March 9, 2018 Reflections Concert review, published on Satakunnan Kansa by Juha-Pekka Peltonen March 12, 2018 Even Joseph Haydn , known as the father of musical Classicism, composed several puppet operas for his employer, the Esterházy court. Another well-known puppet opera is Master Peter’s Puppet Show by Spanish composer Manuel de Falla . Its libretto is based on a visually imaginative puppet-theater episode from Miguel de Cervantes’s novel Don Quixote . So, there are some precedents for the opera Croak . However, what makes the Pori production unique is, at the very least, the fact that the opera has two composers. As a listener, I felt it wasn’t necessary to know which composer had written the music for which scene. The composers had clearly agreed on a unified approach, and both were unquestionably capable of setting the dramatic turns of the libretto to music in a way that captured the listener’s interest. Tonality and slightly entertainment-leaning colors were not avoided, yet the musical language remained sophisticated, skillful, and expressive from beginning to end. Under the baton of Nils Schweckendiek , the Pori Sinfonietta brought the orchestral fabric vividly to life, and the Pori Opera Choir—also key in producing many of the opera’s effects—performed with determination, strength, and full dedication. The puppets, created by Viktor Antonov and representing the St. Petersburg tradition, had already generated interest in Pori prior to the actual Croak performances. The puppeteers were seven students of director Anna Ivanova-Brashinskaya , all trained in puppet theater. During the first act, I found myself wishing the puppets had been given even more prominence. From the balcony, the live singers occasionally overshadowed the delicate-looking puppets under certain lighting conditions. Still, the puppets truly came into their own in the scenes where Croak—having made a pact with the devil-wolf and gained a seductively magnificent singing voice—commits murders of young women. The second act, which focused on the love story between Croak and Olivia, featured stunningly sophisticated puppet sequences—such as the lovers riding together, and at the very end, Croak’s severed head floating after being killed by Olivia. Every singing role was performed by a top-tier artist. Joonas Eloranta as Croak, Jouni Kokora as the Prince, and Merja Mäkelä as the Princess all delivered strong performances throughout. Countertenor Teppo Lampela’s vocal brilliance in the role of the wolf stole the spotlight. And soprano Anna-Kristiina Kaappola brought an extraordinary sense of authority to her role, her connection to the Olivia puppet figure seeming almost magical. To borrow a phrase from Master Peter in Don Quixote , Pori’s Croak can truly be called “one of the most remarkable sights of our time.” Interview, published on Satakunnan Kansa by Hanna Laasanen March 6, 2018 How did the collaboration between two composers work in the opera Croak? Premiering this Friday in Pori, Croak is an opera with two composers: Maria Kallionpää and Markku Klami . Or more precisely, they split the opera evenly, dividing the scenes between them. The composers have known each other for a long time. They studied composition at the Sibelius Academy during the same period, have collaborated previously, and are also friends. Originally, the opera was to be composed by Jouni Kaipainen . After his passing, Kallionpää and Klami began discussing the idea of working together. Neither had enough time to write a full opera on their own alongside other professional commitments. The result, heard in Croak ’s rehearsals, is strikingly varied and richly textured. The music captures the opera’s quick shifts in atmosphere with vivid clarity, supporting the darkly fairytale-like, drama-filled story—one that is not short on corpses. The composer doesn’t change with every scene, but roughly every 20 minutes. At times, this transition was a creative advantage. For example, in the seventh scene, the stage fills with the bodies of women. This is followed by a comedic bar scene. “It was a good moment to also change composers, because the atmosphere shifts so dramatically,” says Klami. Their work began two years ago. The two composers tied their sections together with shared musical motifs and harmonic ideas. They began by creating short musical sketches to represent characters and situations, then exchanged them with one another. Each worked independently but shared MIDI drafts throughout the process. Klami is cautious about the idea of collective composing, which has become more common in contemporary music. “Composing takes you deep into your own subconscious—how can you really share something that comes from that level? If everyone brings their own deepest layers into the process, the resulting work may suffer from compromise. In this case, it worked well because we both had the freedom to create our own interpretations.” Both composers also sang through the vocal music they had written, to ensure it fit naturally with the voice. “I studied classical singing when I was younger. I wouldn’t perform these pieces myself, but it’s helpful to be able to try them out,” Kallionpää says. Conductor Nils Schweckendiek finds the dual-composer approach fascinating. He believes audiences will be able to tell who composed which parts, as the composers’ musical languages are quite distinct. “Markku is an elegant composer whose harmonies blend smoothly from one to the next. Maria’s musical language is a bit more angular. She stays very close to the text and focuses intently on the expression of each moment, whereas Markku paints in broader strokes,” Schweckendiek explains. Kallionpää also employs the full orchestra more often in her scenes compared to Klami. “Having two composers brings variety to the orchestra, but it also presents a challenge when the style changes from scene to scene. The performers need to adapt their playing as well.” Croak has a musical language entirely its own, though at times its textures, harmonies, and structures reminded Schweckendiek of Czech composer Leoš Janáček . Work commentary Markku Klami and Maria Kallionpää co-composed Croak , each independently writing their pre-assigned scenes. The opera is a commission by the Pori Opera Society and Mixed-art Society Poike. Originally the opera was commissioned from Jouni Kaipainen (1956-2015), whose work was left unfinished. The new composers started from a scratch and begun composing a new opera in 2016. They divided the opera into sections where every scene is composed by only one composer. Croak – or the Unexpected Joys and Perils of Singing is the first full-length opera work by Klami and Kallionpää. Back

aura Alto flute and electronics Composed: 2009 Watch / listen Hanna Kinnunen , alto flute, Markku Klami , electronics Live recording from Time of Music Festival, July 11, 2009 Score / parts nkoda Music Finland Instrumentation and duration Alto flute and live electronics (2 or 4 channels) Duration: 7 minutes Commission / dedications Dedicated to Hanna Kinnunen First performance Hanna Kinnunen, alto flute, Markku Klami, electronics, Time of Music Festival, Viitasaari, Finland, July 11, 2009 Composer's Notes I composed aura for Hanna Kinnunen as a part of Composition comments project at Time of Music Festival in Viitasaari, Finland in 2009. My work comments on two other works for flute, bass flute and electronics: Poison Mushroom by Dai Fujikura and Atem-Lied by Toshio Hosokawa . aura was my first work for acoustic instruments enhanced further by the use of electronics. The work is dedicated to Hanna Kinnunen, who premiered the work at the Time of Music Festival in 2009. Back

JÄÄ Guitar duo Composed: 2006 Watch / listen The Helsinki Guitar Duo ( Mikko Ikäheimo and Rody van Gemert ) Live recording from Musica nova Helsinki Festival, March 12, 2007 Score / parts Music Finland Instrumentation and duration Guitar duo Duration: 6 minutes Commission / dedications Commissioned by the Helsinki Guitar Society. Dedicated to Helsinki Guitar Duo First performance Rody van Gemert, guitar, Otto Tolonen, guitar, Temppeliaukio Church, Helsinki, Finland, December 23, 2006 Reflections Concert review, published on Helsingin Sanomat by Hannu-Ilari Lampila February 20, 2010 Leaning towards tradition, Jennah Vainio’s Eldsjälen comes across as a lightly cheerful and energetic piece for flute, violin, viola, and cello—just as Markku Klami’s JÄÄ , a shimmering, ice-themed poem for two guitars, glistens with evocative clarity. Composer's Notes JÄÄ was commissioned by the Helsinki Guitar Society and written for the Helsinki Guitar Duo: Mikko Ikäheimo and Rody van Gemert . The music is a setting to a poem "JÄÄ" by the composer himself. Back

Explore a calendar of performances, premieres, and events featuring Markku Klami's music. Calendar All Concert Country premiere Lecture Screening Radio Releases Installations Streaming World premiere 46 days to the event Jan 29, 2026, 1:15 PM – 2:45 PM Sibelius Academy: Music of Our Time lecture series / Helsinki Music Centre, Auditorium, Mannerheimintie 13 A, 00100 Helsinki, Finland Keep me notified Jan 29, 2026, 1:15 PM – 2:45 PM Helsinki Music Centre, Auditorium, Mannerheimintie 13 A, 00100 Helsinki, Finland Markku Klami: Towards the Violin Concerto: A Requiem Music of Our Time lecture series, The Sibelius Academy of the University of Arts, Helsinki Share 124 days to the event Apr 17, 2026, 7:00 PM – 9:00 PM Tampere Philharmonic / Tampere Biennale / Tampere-talo, Yliopistonkatu 55, 33100 Tampere, Finland Keep me notified Apr 17, 2026, 7:00 PM – 9:00 PM Tampere-talo, Yliopistonkatu 55, 33100 Tampere, Finland Markku Klami: Violin Concerto: A Requiem World premiere Maria Puusaari, violin Tampere Philharmonic Orchestra Ruut Kiiski, conductor Tampere Biennale Share Sep 13, 2025, 7:00 PM – 9:00 PM Musiche dall’Europa per la Terra sottostante / Magliano, Via Trappeto, 36, 73041 Magliano LE, Italy Learn more Sep 13, 2025, 7:00 PM – 9:00 PM Magliano, Via Trappeto, 36, 73041 Magliano LE, Italy Markku Klami: Göreme Echoes Country premiere (Italy) Musiche dall’Europa per la Terra sottostante Share Aug 16, 2025, 5:00 PM – 7:00 PM Tampering Festival / Satamakadun Sali, Satamakatu 17, 33200 Tampere, Finland Learn more Aug 16, 2025, 5:00 PM – 7:00 PM Satamakadun Sali, Satamakatu 17, 33200 Tampere, Finland Markku Klami: Ambience I: Burning Maija, Anttila, clarinet Tampering Festival 2025 Share Jun 06, 2025, 6:00 PM – 10:00 PM Album release / Fractured (Memoria II) / Worldwide release on streaming platforms Learn more Jun 06, 2025, 6:00 PM – 10:00 PM Worldwide release on streaming platforms Release of Mari Mäntylä's album Passing Shadows, featuring the world premiere recording of Markku Klami's Fractured (Memoria II) for decacorde Share Jan 30, 2025, 7:00 PM – 8:00 PM Mari Mäntylä / Solo recital / Kuhmo Arts Centre, Koulukatu 1, 88900 Kuhmo, Finland Learn more Jan 30, 2025, 7:00 PM – 8:00 PM Kuhmo Arts Centre, Koulukatu 1, 88900 Kuhmo, Finland Markku Klami: Fractured (Memoria II) World premiere Mari Mäntylä, decacorde Share Nov 21, 2024, 8:00 PM – 10:00 PM WhatEverWorks! Festival / Sibelius Museum, Piispankatu 17, 20500 Turku, Finland Learn more Nov 21, 2024, 8:00 PM – 10:00 PM Sibelius Museum, Piispankatu 17, 20500 Turku, Finland Markku Klami: aura defunensemble Hanna Kinnunen, alto flute Timo Kurkikangas & Anders Pohjola, live electronics WhatEverWorks! Festival Share Nov 20, 2024, 7:00 PM – 9:00 PM WhatEverWorks! Festival / Manilla Culture Factory, Itäinen Rantakatu 64b, 20810 Turku, Finland Learn more Nov 20, 2024, 7:00 PM – 9:00 PM Manilla Culture Factory, Itäinen Rantakatu 64b, 20810 Turku, Finland Markku Klami: Clair WhatEverWorks! Festival Share Jul 29, 2024, 5:00 PM – 6:30 PM Meidän Festivaali / Ainola, Ainolankatu, 04400 Järvenpää, Finland Learn more Jul 29, 2024, 5:00 PM – 6:30 PM Ainola, Ainolankatu, 04400 Järvenpää, Finland Markku Klami: Ambience I: Burning Lauri Sallinen, clarinet Meidän Festivaali Share Jul 29, 2024, 3:00 PM – 4:30 PM Meidän Festivaali / Ainola, Ainolankatu, 04400 Järvenpää, Finland Learn more Jul 29, 2024, 3:00 PM – 4:30 PM Ainola, Ainolankatu, 04400 Järvenpää, Finland Markku Klami: Ambience I: Burning World premiere Lauri Sallinen, clarinet Meidän Festivaali Share Dec 01, 2023, 1:00 PM – 3:00 PM ISCM World New Music Days / Youngblood Africa, 70, 72 Bree St, Cape Town City Centre, Cape Town, 8001, South Africa Learn more Dec 01, 2023, 1:00 PM – 3:00 PM Youngblood Africa, 70, 72 Bree St, Cape Town City Centre, Cape Town, 8001, South Africa Markku Klami: Elegia Country premiere (South Africa) Stefanie Knorr, soprano Roberto Casado, flute Danielle Rossouw, clarinet Nina Schumann, piano David Bester, violin Aristide du Plessis, cello Chad Hendricks, conductor ISCM World New Music Days Festival 2023, Cape Town, South Africa Share Apr 06, 2023, 7:00 PM – 8:30 PM Kuoromusiikin kausikonsertit / Ritarihuone / House of Nobility, Ritarikatu 1, 00170 Helsinki, Finland Learn more Apr 06, 2023, 7:00 PM – 8:30 PM Ritarihuone / House of Nobility, Ritarikatu 1, 00170 Helsinki, Finland Markku Klami: into the deep peace Audite Chamber Choir Jani Sivén, conductor Kuoromusiikin kausikonsertit Share Mar 25, 2023, 8:00 PM – 10:00 PM Forum of Contemporary Music Festival / Oberstdorf House, Breitachklamm hall, Oberstdorf Haus, Prinzenstraße 4A, 87561 Oberstdorf, Germany Learn more Mar 25, 2023, 8:00 PM – 10:00 PM Oberstdorf House, Breitachklamm hall, Oberstdorf Haus, Prinzenstraße 4A, 87561 Oberstdorf, Germany Markku Klami: Etudes Country premiere (Germany) Patrik Kleemola, guitar Forum of Contemporary Music Festival Share Mar 11, 2023, 7:00 PM – 8:30 PM Audite Chamber Choir / 30th anniversary tour / Tanssin talo, Kaapeliaukio 3, 00180 Helsinki, Finland Learn more Mar 11, 2023, 7:00 PM – 8:30 PM Tanssin talo, Kaapeliaukio 3, 00180 Helsinki, Finland Markku Klami: into the deep peace Audite Chamber Choir Jani Sivén, conductor Share Mar 10, 2023, 7:00 PM – 8:30 PM Audite Chamber Choir / 30th anniversary tour / Tanssin talo, Kaapeliaukio 3, 00180 Helsinki, Finland Learn more Mar 10, 2023, 7:00 PM – 8:30 PM Tanssin talo, Kaapeliaukio 3, 00180 Helsinki, Finland Markku Klami: into the deep peace Audite Chamber Choir Jani Sivén, conductor Share Feb 21, 2023, 7:00 PM – 8:30 PM Patrik Kleemola / Rauhasta Roihuun tour / Kaamos gallery, Kuusamo House, Kaarlo Hännisentie 2, 93600 Kuusamo, Finland Learn more Feb 21, 2023, 7:00 PM – 8:30 PM Kaamos gallery, Kuusamo House, Kaarlo Hännisentie 2, 93600 Kuusamo, Finland Markku Klami: Etudes Patrik Kleemola, guitar Share Feb 19, 2023, 7:00 PM – 8:30 PM Patrik Kleemola / Rauhasta Roihuun tour / Korkalovaara Chappel, Vaaranlammentie 3, 96500 Rovaniemi, Finland Learn more Feb 19, 2023, 7:00 PM – 8:30 PM Korkalovaara Chappel, Vaaranlammentie 3, 96500 Rovaniemi, Finland Markku Klami: Etudes Patrik Kleemola, guitar Share Feb 17, 2023, 7:00 PM – 8:30 PM Patrik Kleemola / Rauhasta Roihuun tour / Helsinki Conservatory of Music, Ruoholahdentori 6, 00180 Helsinki, Finland Learn more Feb 17, 2023, 7:00 PM – 8:30 PM Helsinki Conservatory of Music, Ruoholahdentori 6, 00180 Helsinki, Finland Markku Klami: Etudes Patrik Kleemola, guitar Share Feb 11, 2023, 7:00 PM – 8:30 PM Audite Chamber Choir / 30th anniversary tour / Taulumäki Church, Lohikoskentie 2, 40200 Jyväskylä, Finland Learn more Feb 11, 2023, 7:00 PM – 8:30 PM Taulumäki Church, Lohikoskentie 2, 40200 Jyväskylä, Finland Markku Klami: into the deep peace Audite Chamber Choir Jani Sivén, conductor Share Feb 10, 2023, 7:30 PM – 9:00 PM Patrik Kleemola / Rauhasta Roihuun tour / Tampere Conservatory of Music, F.E. Sillanpään katu 9, 33230 Tampere, Finland Learn more Feb 10, 2023, 7:30 PM – 9:00 PM Tampere Conservatory of Music, F.E. Sillanpään katu 9, 33230 Tampere, Finland Markku Klami: Etudes Patrik Kleemola, guitar Share Load More

Looking to perform or Markku Klami’s music? Find publisher details, information on perusal materials, and a direct contact form for commissions, collaborations, or press inquiries. Scores & parts Composer Contact Scores & parts Edition Wilhelm Hansen (Wise Music Classical) E-mail: ewh@ewh.dk Tel: +45 3311 7888 Fax: +45 3314 8178 Bornholmsgade 1A 1266 Copenhagen K Denmark Markku Klami at Wise Music Classical Music Finland Unpublished scores and parts are available for purchase & rent through Music Finland Inquiries by e-mail: musiclibrary@musicfinland.fi nkoda Selection of scores and parts are available on nkoda Markku Klami All other inquiries may be directed to the composer. Please use the form below. First name* Last name* Email* Write a message* Send

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Markku Klami makes his New York debut with ensemble mise-en Aug 18, 2020 The New York-based ensemble mise-en will arrange their annual MISE-EN MUSIC FESTIVAL in Brooklyn, New York on August 17-20, 2020. The festival program features Markku Klami's "aura" for alto flute and electronics. The New York-based contemporary music group ensemble mise-en will arrange their annual MISE-EN MUSIC FESTIVAL at MISE-EN_PLACE in Brooklyn, New York from August 17 to August 20, 2020. Due to the Covid-19 pandemic, the festival will have its concerts streamed live on YouTube. Each year, the festival program is carefully selected through the group’s annual Call for Scores, targeted to composers of contemporary music around the world. For their festival year 2020, ensemble mise-en selected Markku Klami’s aura for alto flute and electronics, among works by Ted Moore , Alessandro Massobrio , Seán Ó Dálaigh , Epa Fassianos , Jee Seo , Bradley Green , Rodrigo Cadiz , Angeles Rojas and Nicola Fumo Frattegiani . Kelley Barnett , the flutist of the ensemble will perform Klami’s aura on Thursday, August 20 concert at 2.30pm Eastern Time (ET). The concert marks the US premiere of Klami’s aura. The live stream of the concert on YouTube can be found here . Rehearsing via Zoom video call with Kelley Barnett for the upcoming US premiere of aura. As it is stated on their website, ensemble mise-en is a New York-based contemporary music collective led by composer Moon Young Ha . Comprised of talented young musicians, our personnel strive to bring a repertoire of challenging new sounds to diverse audiences. We wish to impart an experience that is simultaneously multicultural and intellectually and aesthetically pleasing. As a collective, the multinational personnel has coalesced around a real aesthetic agenda, crystallized in the name “mise-en”: “mee,” in Korean, means “beauty,” and “zahn,” “to decorate,” and the group unabashedly promotes “beautiful” artwork to increasingly diverse audiences of contemporary sounds. The ensemble promotes large-scale, dynamic performances of contemporary music featuring the works of established and budding composers. Since its inception in 2011, ensemble mise-en has collaborated with such esteemed partners as Washington Square Contemporary Music Society, International Alliance for Women in Music, Austrian Cultural Forum New York, Open Meadows Foundation, New York University, New York Foundation for the Arts, I-Park, Goethe-Institute Boston, Villa Gillet (FR) and others. To date, the ensemble has presented a total of 281 pieces, including 114 works written for the group, and 86 US/NY premieres. The ensemble has performed at exciting venues such as (le) poisson rouge, Bohemian National Hall, Italian Academy, the DiMenna Center, Tenri Cultural Institute and the cell. YouTube links for the concerts: MISE-EN FESTIVAL 2020, Concert I , Tuesday, August 18, 2020 at 2.30pm ET MISE-EN FESTIVAL 2020, Concert II , Thursday, August 20, 2020 at 2.30pm ET < Back to News