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

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

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

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

Dive into the world of composer Markku Klami with an in-depth biography, musical insights, and career highlights. Biography Artistic focus Timeline Biography In English Markku Klami is a Finnish composer whose music has been described as delicate, elegant, fragile, and powerful—evoking strong emotional responses. Klami draws inspiration for his compositions from nature and urban environments alike, aiming to offer listeners a moment of peace amid an increasingly fast-paced world. Through his works, Klami seeks to highlight the mysteries of human existence—its questions, fates, and fragile journeys—while giving voice to the profound presence of nature. His music pays tribute to the majesty of the natural world, a force before which humanity appears small and fleeting. Klami's music has been performed across Europe, the Americas, Asia, and Africa at festivals such as ISCM World New Music Days, International Rostrum of Composers, MISE-EN MUSIC, Nordic Music Days, Musica nova Helsinki, Turku Music Festival, Tampere Biennale, Atlantic Music Festival, Zagreb Music Biennale, and Taiwan International Guitar Festival. Born in Turku in 1979, Klami’s musical path began in childhood through piano and violin studies and a decade-long membership in Chorus Cathedralis Iuniorum, the boys’ choir of Turku Cathedral. These formative years, along with early explorations in electronic music, laid the groundwork for a diverse output that includes solo, chamber, and orchestral works—often blending acoustic instruments with electronics—as well as vocal music and two operas. A classically trained composer, Klami studied at the Turku Music Academy and the Sibelius Academy in Helsinki with Tuomo Teirilä and Tapio Tuomela, respectively. In recent years, he has also returned to his roots in electronic music through ambient releases alongside his concert music. Since 2021, a selection of Klami’s works have been published by Edition Wilhelm Hansen (Wise Music Classical Group). His work has been supported by the Finnish Cultural Foundation, the Arts Promotion Centre Finland, the Jenny and Antti Wihuri Foundation, the Sibelius Fund, the Madetoja Foundation, the Teosto Cultural Foundation, and the Teosto Commission Fund. Klami lives and thinks of music in Helsinki, drawing creative energy from both urban environments and the nature—particularly the seashores, forests, and open landscapes that offer him a vital balance in today’s fast-paced world. Artistic focus See the Timeline for more Media Kit Suomeksi Markku Klamin musiikkia on luonnehdittu herkäksi, elegantiksi, intensiiviseksi ja vahvoja tunne-elämyksiä herättäväksi. Klami ammentaa inspiraatiota teoksiinsa usein luonnosta ja toisaalta myös urbaaneista ympäristöistä, pyrkien tarjoamaan kuulijalle hetken hengähdystauon alati ylikierroksilla käyvästä maailmastamme. Teostensa kautta Klami pyrkii myös nostamaan esiin ihmiselämän suuria kysymyksiä sekä antamaan äänen luonnon ikuiselle läsnäololle. Hän kunnioittaa luonnon suuruutta, jonka rinnalla ihmiselämä näyttäytyy pienenä ja katoavaisena. Klamin musiikkia on esitetty eri puolilla Eurooppaa, Pohjois- ja Etelä-Amerikkaa, Aasiaa ja Afrikkaa festivaaleilla kuten ISCM World New Music Days, International Rostrum of Composers, MISE-EN MUSIC, Nordic Music Days, Musica nova Helsinki, Turun Musiikkijuhlat, Tampere Biennale, Atlantic Music Festival, Zagreb Music Biennale ja Taiwan International Guitar Festival. Turussa vuonna 1979 syntyneen Klamin musiikillinen polku alkoi jo varhain pianon- ja viulunsoiton opinnoilla sekä kymmenvuotisella taipaleella Turun tuomiokirkon poikakuorossa Chorus Cathedralis Iuniorumissa. Näiden vuosien aikana syntynyt kiinnostus sekä akustiseen että elektroniseen musiikkiin on sittemmin johtanut monipuoliseen tuotantoon, johon kuuluu soolo-, kamari- ja orkesteriteoksia, usein akustisia soittimia ja elektroniikkaa yhdisteleviä sävellyksiä, vokaalimusiikkia sekä kaksi oopperaa. Klami opiskeli sävellystä Turun ammattikorkeakoulun Musiikkiakatemiassa Tuomo Teirilän ja Sibelius-Akatemiassa Tapio Tuomelan johdolla. Viime vuosina hän on palannut konserttimusiikin säveltämisen ohella myös juurilleen elektronisen musiikin pariin. Klamin teoksia on vuodesta 2021 alkaen julkaissut Edition Wilhelm Hansen (Wise Music Classical Group). Hänen työtään säveltäjänä ovat tukeneet muun muassa Suomen Kulttuurirahasto, Taiteen Edistämiskeskus, Jenny ja Antti Wihurin rahasto, Sibelius-rahasto, Madetoja-säätiö, Teoston kulttuurisäätiö sekä Teoston Sävellystilaustoimikunta. Nykyisin Helsingissä asuva Klami inspiroituu sekä urbaaneista ympäristöistä että luonnosta – erityisesti merenrannoista, metsistä ja avarista maisemista, jotka tarjoavat hänelle tärkeän vastapainon nykypäivän keskeytyksiä ja häiriöitä täynnä olevassa arkielämässämme. Artistic focus Concert music Markku Klami’s concert works span a wide range of forces—from intimate solo pieces and chamber music to orchestral works, concertos, vocal music, and even opera. While each composition is shaped by its unique context, Klami’s artistic voice is unified by a search for calm, timelessness, and sensitivity of sound. His music often dwells in delicate textures and quiet spaces, inviting the listener into a world that is both reflective and emotionally resonant. At times, he expands his sonic palette through the use of electronics, subtly blending acoustic and electronic elements into cohesive soundscapes. Discover more Electronic music In his electronic music, Markku Klami explores the ambient genre through immersive, slowly evolving soundscapes. These works offer a space for stillness and contemplation—sonic environments that unfold gradually, inviting the listener to settle into their depths. Whether experienced on their own or in dialogue with acoustic instruments, Klami’s electronic pieces reflect his ongoing interest in nuance, atmosphere, and the quiet power of sound. They are not so much narratives as they are places—audio landscapes in which time seems to stretch, soften, and dissolve. Timeline Highlights 1970s February 21, 1979. Born in Turku, Finland. 1980s Markku Klami’s interest in music sparked at an early age during the 1980s, a decade that marked the very beginning of his artistic path. In the mid and late 1980s, Klami began taking private piano lessons, followed by violin studies. These early instrumental lessons provided him with his first experiences in musicianship and laid the foundation for his later explorations in composition. Show more 1990s Klami’s musical journey began in early childhood and deepened significantly throughout the 1990s, a formative decade that laid the groundwork for his later work as a composer. In the early 1990s, Klami continued his violin studies under Kai Vilevaara , developing a strong classical foundation. He also gained early performance experience as a member of Chorus Cathedralis Iuniorum, with international tours to Sweden (1990) and England (1992). Show More 2000s During the 2000s, Klami transitioned from electronic music performance to a focused pursuit of his own compositional voice. He began his academic journey with studies in musicology at the University of Turku and later deepened his musical expertise at the Turku University of Applied Sciences, where he majored in music theory and composition with Tuomo Teirilä , and studied classical guitar with Timo Korhonen and Ismo Eskelinen . He also began teaching music theory at the Turku Conservatory of Music in 2001, marking the beginning of a long-standing parallel career in music education. Klami’s compositional career gained momentum with the 2002 premiere of Colours in Blue by guitarist Patrik Kleemola , sparking a long and fruitful collaboration with Kleemola that resulted in multiple guitar works performed internationally, both by Kleemola and other guitarists. His orchestral debut Flow won the Finnish Polytechnic Orchestra's national composition competition in 2004, leading to several performances with the orchestra and conductor Atso Almila on their concert tour in Finland and Slovakia. Show More 2010s The 2010s marked a period of broad international recognition and artistic diversification for Klami. His music was performed across Europe, Asia, and the Americas, while his creative range expanded to include vocal works, electroacoustic pieces, and opera. Klami began the decade with a series of high-profile premieres, including night signal for male choir, commissioned by the Polytech Choir, and FUME , a clarinet concerto premiered by Lauri Sallinen and Avanti! at the Ung Nordisk Music Festival. He completed his Master of Music in Composition at the Sibelius Academy in 2010, and shortly thereafter, his children’s opera Tulevaisuuden retki was premiered at the Turku Music Festival as part of the official European Capital of Culture 2011 program—one of several commissions tied to this significant cultural year. Show More 2020s Klami’s work in the 2020s has been marked by growing international recognition, high-profile festival appearances, and a steady stream of commissions and premieres. His music has reached new audiences across Europe, North America, Africa, and Asia, while continuing to engage Finnish listeners through performances, recordings, and broadcast media. In July 2020, Göreme Echoes was featured on Yle Radio 1’s (Finnish Broadcasting Company) Finnish Music of Our Times series, followed in August by Klami’s New York debut at the MISE-EN_MUSIC FESTIVAL with aura , performed by Kelley Barnett and the mise-en ensemble. The following month, he premiered the sound installation verweilen in Tübingen, Germany, which was released digitally in December. November 2020 saw the premiere of the first four movements of Etudes , performed by Patrik Kleemola at the Sibelius Museum in Turku. Show More

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