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

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

aava Guitar and electronics Composed: 2015 Score / parts Music Finland Instrumentation and duration Amplified guitar with live and fixed electronics (4 channels) Duration: 16 minutes Movements I. RAIN; fantasy II. in the distance: Cadenza III. Exposed Commission / dedications Commissioned by Timo Korhonen with funding from Teosto Commission Fund. Dedicated to Timo Korhonen First performance Timo Korhonen, guitar, Josue Moreno, Davis Ozolins and Markku Klami, electronics, Musica nova Helsinki Festival, Black Box hall, Helsinki Music Centre, Helsinki, Finland, February 9, 2015 Reflections Concert review, published on Helsingin Sanomat by Jukka Isopuro February 11, 2015 The electronic guitar concert, which filled the BLACK BOX, proceeded in the spirit of tentative experimentation. Timo Korhonen’s acoustic guitar was amplified, and the electronic component was either modified in real-time or pre-recorded. [--] Markku Klami’s subtle and expansive aava fortunately awakened more imaginative electric timbres. Composer's Notes I have already composed a number of works for the guitar, partly because, the guitar having once been my main instrument, I'm familiar with it and naturally I know lots of guitarists. aava expands the instrument's timbral potential by electronic means. It is dedicated to my former teacher, Timo Korhonen , who commissioned and now premieres it. I didn't become a guitarist, but then that wasn't my dearest wish – I had wanted to be a composer from a pretty early age. Timo has been one of the important people who has taught me to come to grips with the essential, and he has encouraged me along my own road forwards. I am extremely grateful to be able to collaborate with him over our communal passion, music. < 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

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

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

Explore press quotes on composer Markku Klami's works, and press resources. Press Media Kit Press "Klami’s expressive and at times breathtakingly beautiful musical language left a thoroughly personal impression." Mats Liljeroos, Hufvudstadsbladet "The character of Klami's song cycle Elegia is balanced and bears a close relationship between the poems and music. At the end of the second song, the soprano solo takes on a depth of sacred music." Harri Hautala, Aamulehti "Klami writes rather delicate music that makes me think of Japan." Timo Korhonen, guitarist " Ambience I: Burning weaves its mesmerizing clarinet material together with ambient soundtrack of pre-recorded tapestries, coming up with an instantly appealing synthesis of texture and color. Accessible in the best sense of the word, the score is far from mere sonic backdrop, thanks to its nuanced construction and intriguing harmonic layout. One looks forward to Klami’s next installments in the series with eager joy." Jari Kallio, Adventures in Music "The scarce gestures in Klami's aava created imaginative electric soundscapes." Jukka Isopuro, Helsingin Sanomat " into the deep peace took off as if from thin, quivering air and the landscape was calmly built both horizontally and vertically – I saw both mountains and the horizon and mighty trees in front of me. The upper notes conjured up the night sky and the beautiful, stable fifths created the impression of peace." Tove Djupsjöbacka, Kuoromusiikin Kausikonsertit "Klami does not use any text in his night signal . The succinct, clear and captivating miniature replaces words with vocal variations and changing overtones." Lauri Kilpiö, Suomen Kuvalehti "Markku Klami's Elegia to the poems by Katja Klami is a beautiful union of music and lyrics. Klami doesn't use very modernist techniques, which gives the text a lot of room. The textures are harmonious and full-bodied. Katja Klami's strong, expressive poems are timeless and topical, even heartbreaking." Kikka Holmberg, Kulttuuritoimitus Media Kit Photos Full biography Biography in English Biografia suomeksi

Colori Violin Composed: 2020 Instrumentation and duration Violin (young players) Duration: 2 minutes Commission / dedications For Kiira on her 10th birthday < Back

red moon String quartet Composed: 2011 Score / parts Music Finland Instrumentation and duration String quartet Duration: 18 minutes Movements / sections I. Introduction II. Ignition III. Illumination IV. ad Infinitum Commission / dedications Commissioned by Uusinta Chamber Ensemble with support from Madetoja Foundation and Teosto Commission Fund First performance Uusinta String Quartet: Maria Puusaari, violin, Teija Kivinen, violin, Max Savikangas, viola, Markus Hohti, cello, Suså Festival, Grønnegade Barracks Arts Centre, Næstved, Denmark, September 4, 2011 Reflections Concert review, published on Seismograf by Martin Nygaard Hansen-Chernetskiy September 2011 Markku Klami's red moon is characterized by abrupt sections mixed with atmospheric, motionless chords, but the dynamics and timbre results in an shimmering texture. There is momentary melodic phrases and figurative outbreak. A heavy, solemn passage sets in and transforms gradually into a lighter, lyrical character that ends up in an ethereal sound. From the silent flickering of actions the piece ends in a crackling climax. Composer's Notes red moon was commissioned by Uusinta Chamber Ensemble. Being my first work for a string quartet, I wanted to stay away from getting in panic with the burden generated by the enormous repertoire written for this ensemble throughout the centuries. Of course, one needs to be aware of the past and the history of this ensemble of an almost transcendent beauty, fragility and overwhelming power, all simultaneously. red moon is a string quartet in a single movement, divided into four sections entitled Introduction, Ignition, Illumination and ad Infinitum . I want to thank Uusinta Chamber Ensemble for this great opportunity to write a new work for the top-of-the-line Finnish string quartet and Madetoja Foundation and Teosto Commission Fund for financial support towards this commission. < 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

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

eikä merta enää ole Boys' choir or mixed choir Composed: 2007 Score / parts Music Finland Instrumentation and duration Boys' choir or mixed choir Duration: 7 minutes Commission / dedications Commissioned by Chorus Cathedralis Iuniorum for their 20th anniversary First performance Chorus Cathedralis Iuniorum, cond. Heikki Rainio, Turku Cathedral, Turku, Finland, September 15, 2007 Reflections Concert review, published on Turun Sanomat by Timo Lehtovaara September 17, 2007 Markku Klami , whose career as a composer is well on its way, has himself sung in Chorus Cathedralis Iuniorum at a young age. eikä merta enää ole is a demanding work for young singers. The motifs of minor and major seconds that bubble over the pedal point at the beginning burst into a smoothly flowing harmonic texture that, despite its chromaticity, remains very airy and clear-sounding. The bass and soprano voices are often situated quite far apart, which poses challenges in terms of intonation and balance. In spite of some uncertain moments, the choir survived the performance with honor. Klami's work is a great addition to the contemporary music repertoire for boys' choir. < Back