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Dive into the world of composer Markku Klami with an in-depth biography, musical insights, career highlights, and press resources. 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

Dive into the world of composer Markku Klami with an in-depth biography, musical insights, career highlights, 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

into the deep peace Mixed choir Composed: 2021 Watch / listen 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

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

Clair sketches Clarinet, bandoneón and string quartet Composed: 2012 Watch / listen 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 Score / parts Music Finland Instrumentation and duration Clarinet, bandoneón and string quartet Duration: 12 minutes Commission / dedications Commissioned by Lauri Sallinen with support from Alfred Kordelin Foundation. Dedicated to Lauri Sallinen First performance Lauri Sallinen, clarinet, Henrik Sandås, bandoneón, Pasi Eerikäinen, violin, Annemarie Åström, violin, Jussi Tuhkanen, viola, Markus Hohti, cello, Camerata hall, Helsinki Music Centre, Helsinki, Finland, May 8, 2012 Composer's Notes This work has a little peculiar genesis. It all started when Lauri Sallinen asked me to write a new work for his debut concert at Helsinki Music Centre. I had already had very pleasant collaborations with him on my solo clarinet piece TWIRL (2008) and my clarinet concerto FUME (2008). Lauri's stunning premiere of FUME at the Ung Nordisk Musik Festival with Avanti! Orchestra in September 2010 has been one of the greatest moments of my composer career so far. Needless to say, I was immediately excited about the idea of writing a new chamber music work for his debut concert. Lauri suggested me to write a duo for clarinet and bandoneón, that thrilling relative of accordion. I had already heard Lauri and Henrik Sandås playing together as a duo for a couple of times, and these two gentlemen really do amazing job with their instruments. The duo of clarinet and bandoneón sparked an interest in me, but as late as in February of 2012 I asked Lauri for the opportunity to include a string quartet to the line-up. This was because for some reason I had developed an obsession that the work’s title had to be ”Clair". And that it should have strings in it. Luckily enough, this was ok for Lauri (as there already were plans to have a string quartet in some other works in his concert program), so the duo piece grew into a sextet. After that, things started to rupture in miraculous directions – and in this case, you can point that blaming finger at the composer. My original intention was to compose a ten-minute work. What we will hear tonight is around that duration, but the end result is something completely different from what I had originally thought. During the hectic and furious compositional process, the musical material somehow began to live its own life, and the piece began to swell over the curves in form and content. Somehow my own internal filters weren't in the best possible shape so the piece grew and grew further. It was hard to put a stop on it and the ideas about the whole work kept changing. Still, I want to follow my own instinct and not force myself to fight it, but the schedule was starting to get really tight. Something had to be finished and soon, so at a very late stage (probably in late April of 2012), I suggested to Lauri that I rework some of the materials into a separate entity, a sort of intro for the actual work that would be finished later. Clair sketches is not a prelude to a bigger work, but an entity in its own right, with some of the materials I had outlined during the spring. As a result, the work was renamed to Clair sketches , while the actual Clair was still waiting for its turn to take the final shape and form. In time, these two works will become sister works, which may be performed separately. Performing both works at the same concert would hardly make much sense, as they share such many similar characters and materials. Anyway, this is how Clair sketches came into this world. I would like to warmly thank Lauri for the commission and the Alfred Kordelin Foundation for their support towards this commission. Back

night signal Male choir Composed: 2009 Watch / listen Kuunteletko Sinä The Polytech Choir, cond. Juha Kuivanen World premiere recording The Polytech Choir (2013) Choral Album of the Year 2013 Award (Finnish Choral Conductors’ Association and Sulasol Society) Sheet music nkoda Music Finland Instrumentation and duration Male choir divided in four groups (TTBB TTBB TTBB TTBB) around the audience Duration: 3 minutes Text Phonetic text by the composer Commission / dedications Commissioned by the Polytech Choir First performance Polytech Choir, cond. Juha Kuivanen, The 5th International Leevi Madetoja Male Voice Choir Competition, Tapiola Church, Espoo, Finland, April 16, 2010 World premiere recording Kuunteletko sinä , The Polytech Choir, cond. Juha Kuivanen (2013). The album received the Vocal Album of the Year Award in 2014, given by the Society of Finnish Choir Conductors and Sulasol Society. Reflections Album review of Kuunteletko sinä, published on Helsingin Sanomat by Samuli Tiikkaja July 10, 2013 The former conductor of the Polytech Choir, Tapani Länsiö , sums up the essence of the album in his liner notes: this is a snapshot of Finland in the early 2000s. The choir has recorded music by contemporary composers, set to texts by contemporary poets. In much the same way, the core repertoire of male choir music from a hundred years ago was born from collaborations between national romantic composers and poets. Today, however, the challenges are different: instead of rich textures and soaring melodic lines, choirs must now master glissandi and speech-like rhythmic phrasing. The Polytech Choir is conducted on the album by Juha Kuivanen . Their interpretations are confident, and the variety of composers brings a welcome diversity to the recording. Maija Hynninen’s Mielen tasapainolajit (“Mental Balancing Acts”) gives a witty musical take on Janne Nummela’s poetry, while Markku Klami’s night signal dispenses with text entirely, gliding through overtone series shaped by pure vowel sounds. Album review of Kuunteletko sinä, published on Suomen Kuvalehti by Lauri Kilpiö August 30, 2013 Contemporary art music is famously marked by a diversity of styles, and this variety is clearly reflected on Kuunteletko sinä (“Do You Listen”). Olli Kortekangas’s freely tonal and naturally flowing Anna niskasi niellä kynteni jälki offers a poignant exploration of the relationship between father and son. Mikko Sidoroff’s gently resonant, nature-themed Talvi, tule vasta leans into the traditional virtues of choral music. In Kyklooppi , Riikka Talvitie treats Mikko Rimminen’s poetry with freedom and creativity, yet with respect for rhythm and intelligibility. The delightfully arched composition spans a range of expression from melodic modernism to the wild rhythms of a spoken-word chorus verging on rap. Tiina Myllärinen builds vivid sonic textures in the compact Kaikki kuuluu värinä , though Henriikka Tavi’s lengthy poem proves nearly impossible to follow in its entirety. Maija Hynninen cleverly combines two poems by Janne Nummela in her rich and imaginative Mielen tasapainolajit (“Mental Balancing Acts”). Markku Klami , by contrast, uses no text at all in his miniature night signal : in this concise and luminously captivating piece, shifting vowels take the place of words. The Polytech Choir, under the direction of Juha Kuivanen, performs each work with boldness, precision, and nuance—delivering interpretations that reflect the choir’s ever-rising artistic standard. 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

Flow String orchestra Composed: 2004 Watch / listen Sigyn Sinfonietta , cond. Markku Klami Live recording from Sigyn hall of Turku Conservatory of Music, March 5, 2005 Score / parts Music Finland Instrumentation and duration String orchestra (minimum: 8.6.5.4.2) Duration: 12 minutes Accolades Winner of the National Composing Competition of the Finnish Polytechnic Chamber Orchestra First performance Finnish Polytechnic Chamber Orchestra, cond. Atso Almila, Tampere Hall, Tampere, Finland, November 21, 2004 Reflections Concert review, published on Turun Sanomat by Tomi Norha March 7, 2005 The concert concluded with Flow by Markku Klami (b. 1979), which won first prize in the Finnish Universities of Applied Sciences composition competition last year. It’s hard to believe this is his first orchestral work — Klami clearly has a great deal of musical substance to share, and most importantly, the ability to shape that material into a coherent and natural form. Flow was full of edge, rhythmic and dramatic pull, and multidimensional textures. The major second motif and tremolos introduced at the beginning ensured cohesion, forming the foundation for a piece that lived up to its name, flowing seamlessly from one moment to the next. There wasn’t a dull moment, and the transitions were skillfully crafted. The harmony was tangy enough to be interesting, yet triads were not excluded. If anything could be further developed, it might be the rhythmic palette — adding even more variety and nuance. Still, by the time the opening motifs returned at the end, the journey felt fully convincing. Back

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

Cinque miniature Guitar Composed: 2006 Watch / listen PERCHITARRASOLA – Finnish and Italian music for guitar Patrik Kleemola, guitar World premiere recording Pilfink Records (2012) Score / parts Music Finland Instrumentation and duration Guitar Duration: 6 minutes Commission / dedications Dedicated to Patrik Kleemola First performance Patrik Kleemola, guitar, Castle of Carlo V, Monopoli, Italy, April 7, 2006 World premiere recording PERCHITARRASOLA - Finnish and Italian music for guitar - Patrik Kleemola, guitar (Pilfink Records, Finland, 2012) Reflections Album liner notes, published on Kleemola's PERCHITARRASOLA album, by Juha Torvinen Markku Klami's Cinque miniature presents itself as miniaturist musical genre paintings, as the name of the composition might suggest. The musical elements holding the miniatures together – pedal points, asymmetric rhythmics, extensive use of triplets, repetitive motifs – all these suggest that all these miniatures were painted in the same situation, as variations of the same atmosphere. The cyclical unity of the composition is intensified further by the fact that each miniature opens with tones that end the preceding miniature, and also by the fact that the first and last tone of the composition are the same. PERCHITARRASOLA album review, published on Classical Guitar Magazine by Paul Fowles April 2013 Fielding a mixed Finnish and Italian programme, the youthful and evidently able Patrik Kleemola is the dedicatee of all the items on offer. [--] With two exceptions, it all starts to sound more or less the same within a short time of hitting the 'play' button. The first oasis, which is the Cinque miniature by Markku Klami , remains a somewhat austere creation but achieves some degree of accessibility on the grounds of brevity. PERCHITARRASOLA album review, published on Turun Sanomat by Tomi Norha April 20, 2012 Of all the compositions, I find Markku Klami’s Cinque miniature the most effective — it is moderately idiomatic, versatile, and yet cohesive. Concert review, published on Turun Sanomat by Tomi Norha October 15, 2006 The most compelling part of Massimo Felici's concert was Cinque miniature by Turku-based composer Markku Klami — a stylish and cohesive work. Klami demonstrates a fine ability to evoke a wide range of characters and to make full use of the guitar’s distinctive qualities. Composer's Notes April 2024 Cinque miniature was composed for Patrik Kleemola between 2005 and 2006, alongside other projects. This short solo guitar piece received its premiere in April 2006 at the Castle of Charles V in Monopoli, Italy, performed by Kleemola. Since then, it has traveled the world in his repertoire, and to my great delight, many other guitarists have also taken the piece into their programs. The piece received its first recording in 2012 on Kleemola’s debut solo album PERCHITARRASOLA – Finnish and Italian music for guitar (Pilfink Records, 2012). Over the past two decades, Cinque miniature has become my most frequently performed work—played by professional guitarists and students alike across the globe. 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

afore Piano Composed: 2015 Score / parts Music Finland Instrumentation and duration Piano Duration: 8 minutes Commission / dedications Dedicated to Tuomas Niininen First performance Tuomas Niininen, piano, Concert hall of the Lodz Academy of Music, Lodz, Poland, November 23, 2015 Back