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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

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

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

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

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

karu Guitar trio Composed: 2014 Watch / listen Janne Malinen, Mikko Ikäheimo and Timo Korhonen performing karu at Temple Rock Church in Helsinki, November 2014 Score / parts nkoda Music Finland Instrumentation and duration Guitar trio Duration: 15 minutes Movements I. Aanaar II. El Camino Real III. Echo, returning Commission / dedications Commissioned by and dedicated to Timo Korhonen First performance First movement, original version: Shin-ichi Fukuda, Timo Korhonen and Thomas Müller-Pering, guitars, Taiwan International Guitar Festival, Taipei National Concert Hall, Taipei, Taiwan, August 10, 2014 Whole work: Timo Korhonen, Mikko Ikäheimo, Janne Malinen, guitars, 50th Anniversary concert of Timo Korhonen, Kantakaupungin Kitarakonsertit Festival, Temppeliaukio Church, Helsinki, November 6, 2014 Composer's Notes My guitar trio karu was inspired by the open, arid and barren landscapes – by the tranquility of Lake Inari in Finnish Lapland and the sceneries along El Camino Real, the historical route following the coastline of the Pacific Ocean in California, along which I have traveled a couple of times. The night in the desert of California captivated me by its silence. For many years now in my work as a composer I have been interested in the slow and fragile qualities in music. In the whirlwind of our ever-accelerating everyday lives and the ever-increasing flood of information and interruptions, I want my music to approach the experiences of coming to a halt and approaching silence. With the fragile sounds of three guitars, karu leads away from the hectic environments. Only the aggressive outbursts in the final movement Echo, returning remind us of the chaos of our everyday life. karu was commissioned by Timo Korhonen and he premiered the work with Shin-ichi Fukuda and Thomas Müller-Pering at the Taiwan International Guitar Festival in Taipei in August 2014. The work is dedicated to Timo Korhonen. < Back

Göreme Echoes Soundtrack Composed: 2010 Watch / listen Instrumentation and duration Soundtrack (2-channel stereo) Duration: 16 minutes First performance Musicam Video Project publication event, Turku 2011 European Capital of Culture, City hall of Pori, Pori, Finland, May 25, 2010 Composer's Notes Göreme Echoes is a sound installation piece based on the material of my earlier work Göreme for guitar and electronics and some new material as well. Göreme Echoes may be performed in any suitable concert or sound installation event. < Back