FMQ publishes Markku Klami's column on the significance of arts and culture for humanity Mar 30, 2025 In this deeply personal column, Markku Klami reflects on how music became his survival strategy, why composing remains his greatest calling, and how culture can give us a reason to live. On my music and beyond: Composing as a means of survival In this deeply personal column, Markku Klami reflects on how music became his survival strategy, why composing remains his greatest calling, and how culture can give us a reason to live. “Art fosters hope, opens up new perspectives and brings us together”, writes Klami. Read the whole column on Finnish Music Quarterly's (FMQ) website. FMQ started as a printed magazine (the Finnish Music Quarterly) in 1985, addressing all aspects of the Finnish music scene. Since 2005, it has also been serving its readers online. Today, FMQ publishes new items – articles, columns and reviews – on its website on a regular basis. A special issue addressing a specific topic through several articles is released four times a year. The articles in FMQ are written by experts on music both Finnish and foreign. In the course of its history, FMQ has also produced special issues in German, French, Swedish and Japanese. Since 2023, FMQ has appeared exclusively in a digital format. From 2017 to 2022, a printed edition featuring a compendium of the year's online articles was released annually in December. FMQ is published by Music Finland . Its partners are the Sibelius Academy , the Society of Finnish Composers and the Finnish Musicians’ Union . The publication is also supported by the Finnish Ministry of Education and Culture, as well as by Kopiosto copying remunerations (from the share of the Society of Finnish Composers). Additionally, publication in 2025 is supported by the Alfred Kordelin Foundation. < Back to News

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 to Music

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 to Music

Clair sketches selected as a finalist in Kaleidoscope's 2019 Call for Scores in Los Angeles Oct 23, 2019 Markku Klami's Clair sketches for clarinet, bandoneón and string quartet has been selected as one of the finalists in Kaleidoscope Chamber Orchestra's 2019 Call for Scores. Kaleidoscope received over 2200 entries from composers from 90 countries around the world in their recent Call for scores for their upcoming 6th concert season in 2019-2020. Markku Klami's Clair sketches for clarinet, bandoneón and string quartet has been selected as one of the finalists in Kaleidoscope Chamber Orchestra's 2019 Call for Scores. Kaleidoscope received over 2200 entries from composers from 90 countries around the world in their recent Call for scores for their upcoming 6th concert season in 2019-2020. Lauri Sallinen, clarinet, Henrik Sandås, bandoneón, Pasi Eerikäinen, violin, Annemarie Åström, violin, Jussi Tuhkanen, viola and Markus Hohti, cello, giving the world premiere of Clair sketches at Helsinki Music Centre's Camerata hall, May 2012 Kaleidoscope is a Los Angeles -based chamber orchestra working without conductor. As it is stated on their website, their mission is to enrich lives through exhilarating concert experiences, artistic excellence, musician leadership and connecting with the diverse communities of Los Angeles. They envision a world where their commitment to a collaborative artistic process results in profound orchestral performances that inspire people to pursue cooperation and artistry in their own creative, professional and personal lives. I'm so grateful for this fine ensemble to select one of my works in the finals of their Call for scores and wish to congratulate all the other finalists. I'm also very happy to spot a couple of familiar faces in our finalist group. Having been following the great work Kaleidoscope has been doing in the Los Angeles area in recent years, it is a great honor for me to be in the final round for their upcoming concert season. Kaleidoscope will announce their complete 6th concert season soon, so stay tuned for updates! < Back to News

FUME Clarinet and orchestra Composed: 2008 Watch / listen Lauri Sallinen , clarinet, Avanti! Chamber Orchestra , cond. Jani Telaranta Live performance from Ung Nordisk Musik Festival, September 24, 2010 Score / parts Music Finland Instrumentation and duration Clarinet and orchestra: 2(A.fl.).2(E.hn).2(B.cl).2/2.2.0.0./perc./Str. (minimum: 6.6.5.4.2., preferred: 8.6.6.4.3.) Duration: 23 minutes Movements I. ...bursting into... II. ...a serenade... III. ...to one out of reach, Commission / dedications Dedicated to Lauri Sallinen Accolades Selected to the Jury's list of recommended works in the 2nd International Uuno Klami Composition Competition 2009 First performance Lauri Sallinen, clarinet, Avanti! Orchestra, cond. Jani Telaranta, Ung Nordisk Musik: COLLISION! Festival, Concert hall of the Sibelius Academy, Helsinki, Finland, September 24, 2010 Reflections Concert review, published on Hufvudstadsbladet by Mats Liljeroos September 26, 2010 Markku Klami’s FUME for Clarinet and Chamber Orchestra stood out as a case of its own. The Turku-born composer (b. 1979) clearly possesses more than enough talent, and the piece was crafted with considerable professional skill. A name worth remembering. The same applies to clarinetist Lauri Sallinen , who handled the demanding solo part with effortless technique and a refined tone. Avanti! performed with the attentiveness and the kind of sonic brilliance one has come to associate with the ensemble in this type of repertoire. Composer's Notes FUME was my first concerto work and I wrote it especially for Lauri Sallinen . This marvellous musician (and also a very nice person) was of much help during the writing process of the work. I'm forever grateful for all his comments on my ideas and writings during the composing process. FUME was selected to the Jury's list of recommended works in the tremendously successful 2nd International Uuno Klami Composition Competition in 2009. The premiere was given by Lauri Sallinen and Avanti! Chamber Orchestra, conducted by Jani Telaranta at Ung Nordisk Musik Festival in 2010. FUME is dedicated to Lauri Sallinen. < Back to Music

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 to Music

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 to Music

Patrik Kleemola to premiere Markku Klami's Etudes for guitar Nov 3, 2020 Four etudes, titled ”Memoria”, ”Agitato nervosamente”, ”Nocturno” and ”Stream” from Markku Klami’s upcoming Etudes for guitar collection will get their world premiere by Finnish guitarist Patrik Kleemola in his recital on November 11, 2020 at the Sibelius museum in Turku, Finland. Four etudes, titled ”2. Memoria (Remembrance)” , ”4. Agitato nervosamente” , ”5. Nocturno. Väre (Ripple)” and ” 6. Puro (Stream ) ” from Markku Klami’s upcoming Etudes for guitar collection will get their world premiere by Finnish guitarist Patrik Kleemola in his recital on November 11, 2020 at the Sibelius museum in Turku, Finland. Patrik Kleemola playing "Stream" from Etudes for guitar in a sound check for the premiere performance on November 11, 2020. Patrik Kleemola is one of the foremost Finnish classical guitarists. After winning the 2nd Guitaristival Takemitsu International Guitar Competition in Finland 2004 and gaining prizes in other competitions such as Gargnano's International Guitar Competition, his concert career has taken him to London, Buenos Aires, Rome, Dublin, Milan, Athens, Turin, Florence, Tallinn, Oberstdorf, Helsinki and other cities in South America and Europe. He has appeared as soloist on important music festivals such as Bergamo Festival Internazionale della Cultura (Italy), LACCS – concert series at London's Queen Elisabeth Hall, Turku Music Festival (Finland), Tallinn Guitar Festival (Estonia), Nuovi Spazi Musicali (Italy), Festival 5 Giornate (Italy), Limina Festival (Argentina), Feria del Libro (Uruguay), Lidköping Music Festival (Sweden) and Tampere Biennale Finland). Kleemola has performed guitar concertos by Rodrigo, Ponce, Takemitsu, Giuliani, Castelnuovo-Tedesco, Vivaldi and Maggio with Orquesta Sinfonica de la Juventud Venezuelana El Sistema, Orchestra I Pomeriggi Musicali, San Remo Symphony Orchestra, Turku Philharmonic Orchestra and Lecce Symphony Orchestra. Kleemola plays regularly chamber music with various international ensembles and soloists. Kleemola's wide repertoire includes music from the early Italian 16th century to the newest contemporary compositions written for him. Kleemola's intense collaboration with composers has led to over 50 premieres of contemporary works for guitar including concertos, chamber music and solo works. Composers like Ada Gentile, Mikko Heiniö, Markku Klami, Juha T. Koskinen, Paola Livorsi, Marcela Pavia, Harri Suilamo and Harri Vuori have composed and dedicated their works to him. Kleemola has released two CDs by Pilfink records: Perchitarrasola (2012) and Through Green Glass (2015). The CDs consist of music written for Kleemola by Finnish and Italian composers. Other CD recordings include Kleemola's arrangement of Franz Schubert's Die schöne Müllerin for guitar and tenor. Kleemola's ever growing content on his personal Youtube channel is gaining a lot of following, and soon it will pass the landmark of a million views. In addition to his performing career, Kleemola is Lecturer in Guitar at Turku Conservatory & Music Institute. Kleemola gives regularly masterclasses during concert tours and recently he has given those in London, Buenos Aires, Milan and elsewhere in Italy, Estonia and Finland. Kleemola was the artistic director of the Brinkhall Summer Concerts during 2009-2011 in Turku, Finland. Kleemola is the founder and artistic director of Turku Guitar Festival. Markku Klami: Etudes for guitar: 4. Agitato nervosamente (excerpt) Klami’s Etudes is a collection of solo guitar pieces, each concentrating on a specific guitar playing technique. While targeted for younger and advanced young players, these etudes are intended and suitable for concert use by professional guitarists alike. Patrik Kleemola performs Etudes cycle on his YouTube channel In his Etudes , Klami makes use of some extended playing techniques, including playing the strings by hitting them with the left hand – and, at times, even both hands, techniques resulting in microtones, like plucking the strings on both sides of the hand on the fretboard, and partially muting the strings in various ways. These extended playing techniques are intended to provide also younger players with glimpses of the intriguing world of contemporary music. Markku Klami: Etudes for guitar: 5. Nocturno. Väre (Ripple) (excerpt) The idea to write new, contemporary music pieces that would not be technically too demanding for young and advanced younger players, while maintaining a high aesthetic value of a contemporary concert music was proposed to Klami by Kleemola. A close cooperation between Klami and Kleemola and study on the technical and aesthetic aspects of each etude has been taking place since late 2019. Klami has composed Etudes with the support by Arts Promition Centre Finland and the Finnish Cultural Foundation . Markku Klami: Etudes for guitar: 6. Puro (Stream) (excerpt) The Etudes are written for Patrik Kleemola. He will premiere the collection in whole in 2021. Stay tuned for more information about this project, which will be fully released in 2021, including a video release of each etude on Kleemola’s YouTube channel . Sheet music for Etudes is available via Edition Wilhelm Hansen (Wise Music Classical) < Back to News

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

Cooperation with clarinetist Lucy Abrams Oct 12, 2018 Lucy Abrams performs Markku Klami's TWIRL in Lithuania and Finland Last spring I was delighted to receive an e-mail from clarinetist Lucy Abrams about her plans for her upcoming postgraduate recital at Sibelius Academy of University of Arts in Helsinki. As a part of her recital program she will perform my solo clarinet piece TWIRL alongside other clarinet pieces by Finnish and American composers. Last June Lucy interviewed me for her artistic research and we ended up discussing a variety of subjects on music and also the piece in question, TWIRL. We rehearsed the piece in August, after which Lucy performed TWIRL as a part of her lecture recital at Doctors in Performance Conference at Lithuanian Academy of Music and Theatre, in Vilnius, Lithuania in September. During October and November Lucy will again perform TWIRL, first in Kerava and then in her first postgraduate recital at Helsinki Music Centre in November. For a composer, working with musicians is a vital part of our profession – I would even argue it’s one of the cornerstones of our existence. I’m delighted to have my music performed by stellar musicians such as Lucy. Looking forward to the upcoming performances! If you are around Helsinki on November 13, feel free to attend her concert! Be sure to check these links as well: Our interview from June 2018 Lucy’s lecture at Doctors in Performance Conference < Back to News

The first ever large-scale puppet opera in the Nordic countries premieres on March 9, 2018 Mar 6, 2018 The puppet opera "Croak – Or The Unexpected Joys And Perils of Singing" will premiere at Pori Opera on March 9, 2018 The opera Croak – Or The Unexpected Joys And Perils of Singing will premiere at Promenadi Hall in Pori on Friday 9th of March 2018 The opera was written by composers Markku Klami and Maria Kallionpää , and the Pori Sinfonietta orchestra will be led by conductor Nils Schweckendiek . All in all, five soloists, seven puppeteers and thirty puppets along with the Pori Opera Choir will take to the stage during the shows. Croak is a tragic musical fantasy about love, the gift of song, and about the responsibility brought on by talent. Mikhail Brashinsky’s libretto draws its inspiration from the wisdom of classic fairytales. Croak is directed by Anna Ivanova-Brashinskaya , who has worked extensively both as a director and a teacher to promote the art of puppeteering in Finland. The puppets, costumes and the set are designed by Viktor Antonov . The composers Markku Klami and Maria Kallionpää , director Anna Ivanova-Brashinskaya and conductor Nils Schweckendiek were all intrigued by the many layers concealed within the realm of the puppet opera. When working on the score, the composers considered the unique voice qualities of all the soloist, and the musical landscape and the set visuals were created in close interaction with all the artists. In the rehearsals earlier this year, there was a palpable spirit of enthusiasm and curiosity, which came in handy resolving the surprises of the cross-disciplinary collaboration. Croak is set to renew both the opera tradition and the art of puppeteering. The music, the visuals and the choreography have all been made for a contemporary audience. The dialogue between the art forms brings fresh and expressive perspective to the ancient theme of longing for love. The Croak soloists are soprano Anna-Kristiina Kaappola , tenor Joonas Eloranta , countertenor Teppo Lampela , mezzosoprano Merja Mäkelä , and bass-baritone Jouni Kokora . The puppeteers on stage are Johanna Kultala , Maria-Elina Koivula , Anna Nekrassova , Jenni Rutanen , Riina Tikkanen , Lotta Virtanen , and Paula Vilmi . The assistant diretor is Roosa Halme , and the opera was choreographed by Tatiana Gordeeva . The rehearsals of the Pori Opera Choir were led by Ognian Vassilev . The Croak Opera is produced in cooperation with the Pori Opera and the Mixed-Art Association Poike, with Heli Latvala and Tuuli Penttinen-Lampisuo as executive producers. Croak on Facebook Croak on Instagram < Back to News

into the deep peace Mixed choir Composed: 2021 Watch / listen Markku Klami: into the deep peace Voices of Earth Audite Chamber Choir, conducted by Jani Sivén World premiere recording Alba Records (2026) Voices of Earth Podcast Podcast produced by Mimmu Kyrönseppä, hosted by Julia Korkman The second episode of the series explores Markku Klami’s work into the deep peace . Julia Korkman hosts the discussion, joined by composer Finn Shields . A short excerpt from Klami’s piece is featured mid-episode, recorded live at the Voices of Earth concert by Audite Chamver Choir in Taulumäki Church, Jyväskylä, on February 11, 2023. Score / parts Music Finland Instrumentation and duration Mixed choir Duration: 14 minutes Movements / sections I. The heat II. The night wind III. The daybreak Text John Muir (selections from My First Summer in the Sierra, adapted by the composer) Commission / dedications Commissioned by Audite Chamber Choir with funding from Jenny and Antti Wihuri Foundation First performance Audite Chamber Choir, cond. Jani Sivén, 30th Anniversary tour of Audite Chamber Choir, light design by Ainu Palmu, Old Academy Building, Turku, Finland, November 12, 2022 Reflections Concert review, published on Kuoromusiikin Kausikonsertit by Tove Djupsjöbacka April 11, 2023 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. Composer's Notes into the deep peace is based on selections of texts from John Muir's 1869 travel memoir My First Summer in the Sierra , published in 1911. into the deep peace was commissioned by Audite Chamber Choir for their 30th anniversary, and is dedicated to them and their conductor, Jani Sivén. The commissioner's wish was that the music would focus on a nature-related theme. This was a pleasant starting point for me, as nature in particular has for long played an ever-increasing role as a source of ideas for me. Almost immediately I decided to set the music to texts inspired by the diverse nature of the State of California. It didn't take me long to think of writings by John Muir. While reading his travel memoir My First Summer in the Sierra, a series of fond memories of my honeymoon trip to California and Nevada in October 2018 came to my mind. In the midst of ever-increasing rush and disruptions of the way of life in the Western culture, my wife and I managed to completely detach ourselves from the exhausting everyday life and enjoy each other's company in the vivid pulse of the big cities and intoxicating peace of the nature. The vastness and endlessness of the Pacific Ocean, the wilderness of the sun-burned deserts, the canyon scenery and the mountains of the Sierra Nevada impressed me forever. My perhaps clichéd experience of feeling very small affected me strongly in the Giant forest of the Sequoia National Park, near to the southern end of Sierra Nevada mountain range in California. This rather small area of around 1880 acres is the home to five of the world's ten largest trees. The famous inhabitants of the forest, the Giant sequoias, are among the oldest surviving trees on earth. While wandering around the Giant forest and standing at the foot of these trees, which reach up to the heights of a 14-story building, time disappeared. I felt as if these old giants were peacefully watching us in their sanctuary almost two kilometers above the sea level. The experience was tremendous, and absolutely sacred. These giants have survived many ordeals during their lives spanning over 3000 years, and they may well continue to live for another 1000 years, if we people allow them to do so. into the deep peace is my humble tribute to the nature, its endless diversity and beauty – a terrestrial eternity, as John Muir so aptly writes in his travel memoir. The title of the work is derived from a sentence in Muir's travel memoir, dated July 11, 1869: ”Sauntered up the meadow about sundown, out of sight of camp and sheep and all human mark, into the deep peace of the solemn old woods, everything glowing with Heaven’s unquenchable enthusiasm.” < Back to Music