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Stay up to date with news about Markku Klami’s music—premieres, recordings, collaborations, awards, and other highlights from his career. News Dec 18, 2025 Mari Mäntylä's album Passing Shadows featuring Markku Klami's Fractured (Memoria II) nominated for Emma Classical Award 2026 Mari Mäntylä’s album Passing Shadows (Alba Records, 2025) has been nominated for the Emma Classical Award 2026—part of the Emma Awards, Finland’s most prestigious annual honours celebrating artistic achievement in recorded music. The album features newly commissioned works, including Markku Klami’s Fractured (Memoria II). Read more Nov 14, 2025 Maria Puusaari and Tampere Philharmonic to premiere Markku Klami's Violin Concerto Markku Klami’s Violin Concerto: A Requiem receives its world premiere at the Tampere Biennale, performed by Maria Puusaari and the Tampere Philharmonic Orchestra under Ruut Kiiski’s baton Read more Jun 10, 2025 Markku Klami's Fractured (Memoria II) released on Mari Mäntylä’s album Passing Shadows Featuring contemporary works for decacorde, the album is out now on Alba Records and includes new music by Tõnu Kõrvits, Markku Klami, René Eespere, Charlotte Bray, Juan Antonio Muro, Mari Sainio, Pekka Jalkanen — and Mari Mäntylä herself. Read more Mar 30, 2025 FMQ publishes Markku Klami's column on the significance of arts and culture for humanity 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. Read more Jan 28, 2025 World premiere of Markku Klami's Fractured (Memoria II) given by decacordist Mari Mäntylä Mari Mäntylä, the leading Finnish decacordist, will give the world premiere performance of Markku Klami's recent work, Fractured (Memoria II), at Kuhmo Arts Centre's Lentua hall in Kuhmo on January 30, 2025. Read more Jul 21, 2024 Lauri Sallinen premieres Markku Klami's Ambience I: Burning at Meidän Festivaali Lauri Sallinen, one of the most in demand Finnish clarinetists, will give the world premiere performance of Markku Klami's recent work, Ambience I: Burning, at Meidän Festivaali in Järvenpää on July 29, 2024. Read more Nov 22, 2023 Markku Klami's Elegia featured at ISCM World New Music Days in South Africa Markku Klami's song cycle Elegia, to the poems by Katja Klami, will be featured at the International Society for Contemporary Music World New Music Days Festival in South Africa Read more Feb 5, 2023 Audite tours with Markku Klami’s into the deep peace In the spring of 2023, Audite chamber choir tours with their 30th anniversary tour Voices of Earth, featuring Markku Klami’s into the deep peace (2021), set to the texts by John Muir. Read more Jan 22, 2023 Patrik Kleemola tours with Markku Klami's Etudes in Finland and Germany Patrik Kleemola gives the concert world premiere of Markku Klami's entire Etudes cycle at the opening concert of Sibelius Academy's International Guitar Pedagogy Conference on February 3, 2023 at the Organo hall of the Helsinki Music Centre. Read more Aug 11, 2022 Announcing 2022-2023 season highlights Markku Klami's vocal and instrumental music will be heard on several occasions during the 2022-2023 season. Read more Jun 4, 2022 Markku Klami's Elegia nominated to the 68th International Rostrum of Composers The Finnish Broadcasting Company (Yle) recently nominated Markku Klami's Elegia to the poems by Katja Klami to this year’s International Rostrum of Composers, organized by the International Music Council. Read more Mar 29, 2022 TampereRaw to premiere Markku Klami's Elegia at Tampere Biennale Festival A new work for soprano and Pierrot ensemble, titled Elegia (Elegy) by Markku Klami will be premiered by soprano Tuiki Järvensivu and TampereRaw, a Tampere-based ensemble of contemporary music, at Tampere Biennale Festival on April 7, 2022. Read more Nov 26, 2021 Edition Wilhelm Hansen publishes Markku Klami's Etudes for guitar The biggest music publisher in Scandinavia, Edition Wilhelm Hansen, has published Markku Klami's Etudes for guitar. Read more Sep 24, 2021 Patrik Kleemola gives the YouTube premiere of Klami's Etudes for guitar A 10-week release event of Markku Klami's Etudes for guitar (2021) begins on Monday, September 27, 2021 and will run until Monday, November 29, 2021 on Patrik Kleemola's YouTube channel. Read more Sep 10, 2021 September premieres with Lauri Sallinen & Seinäjoki City Orchestra and Patrik Kleemola Lauri Sallinen premieres Markku Klami's Clair for clarinet and large ensemble with the Seinäjoki City Orchestra on September 16, 2021. Patrik Kleemola releases weekly premieres of Klami's Etudes for guitar on his YouTube channel on Mondays from September 27 until November 29, 2021. Rondo Classic interviewed Klami for their September 2021 issue of the magazine. Read more Mar 8, 2021 Markku Klami’s FUME selected to the finals in Kaleidoscope’s 2020 Call for Scores in Los Angeles Los Angeles based orchestra Kaleidoscope received almost 8000 applications from composers in 86 countries in their 2020 Call for Scores. 189 works by 172 composers were selected to the final round, including Markku Klami’s clarinet concerto FUME. Read more Dec 18, 2020 verweilen released on streaming platforms verweilen, an ambient soundscape inspired by the coronavirus pandemic has just been released on various streaming platforms. Read more Nov 3, 2020 Patrik Kleemola to premiere Markku Klami's Etudes for guitar 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. Read more Aug 18, 2020 Markku Klami makes his New York debut with ensemble mise-en The New York-based ensemble mise-en will arrange their annual MISE-EN MUSIC FESTIVAL in Brooklyn, New York on August 17-20, 2020. The festival program features Markku Klami's "aura" for alto flute and electronics. Read more Jul 14, 2020 Thoughts on truth – Göreme Echoes featured at FBC's The Finnish Music of Our Time series Markku Klami's Göreme Echoes featured in Aikamme suomalaista musiikkia (The Finnish Music of Our Time) on Finnish Broadcasting Company Read more Oct 23, 2019 Clair sketches selected as a finalist in Kaleidoscope's 2019 Call for Scores in Los Angeles 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. Read more Feb 25, 2019 Victory over violence – Why I became a composer and the story behind composing Göreme Markku Klami's Göreme released on streaming platforms Read more Dec 18, 2018 Göreme Echoes released on Spotify and other streaming platforms Markku Klami's Göreme Echoes released on streaming platforms Read more Oct 12, 2018 Cooperation with clarinetist Lucy Abrams Lucy Abrams performs Markku Klami's TWIRL in Lithuania and Finland Read more Sep 29, 2018 World premiere of Karui at Uuden Musiikin Lokakuu Festival Markku Klami's Karui premiered at Uuden Musiikin Lokakuu Festival in Oulu Read more Mar 6, 2018 The first ever large-scale puppet opera in the Nordic countries premieres on March 9, 2018 The puppet opera "Croak – Or The Unexpected Joys And Perils of Singing" will premiere at Pori Opera on March 9, 2018 Read more

Dive into the world of composer Markku Klami with an in-depth biography, musical insights, and career highlights. Biography Artistic focus Timeline Biography 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 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 Klami's concert music 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

Markku Klami's Elegia featured at ISCM World New Music Days in South Africa Nov 22, 2023 Markku Klami's song cycle Elegia, to the poems by Katja Klami, will be featured at the International Society for Contemporary Music World New Music Days Festival in South Africa Markku Klami's song cycle Elegia , to the poems by Katja Klami , will be featured at the International Society for Contemporary Music (ISCM) World New Music Days Festival in South Africa. Celebrating the 100th anniversary of World New Music Days Festival, the festival is organized by ISCM and NewMusicSA society, marking the first time the festival is taking place on African continent. Klami's Elegia was selected to the festival program through the annual official call for works organized by the ISCM. The work will be performed at Youngblood Gallery in Cape Town on December 1, 2023 by Stefanie Knorr , soprano, Roberto Casado , flute, Danielle Rossouw , clarinet, Nina Schumann , piano, David Bester , violin, Aristide du Plessis , cello, and conductor Chad Hendricks . Elegia was commissioned by Tampere Biennale Festival 2022 and received its first performance in the festival by soprano Tuiki Järvensivu and TampereRaw Ensemble . Tuiki Järvensivu has given following performances of Elegia with Tampering Ensemble and TampereRaw in Tampering Festival and Sibelius Music Days Festival in 2022. Soprano Tuiki Järvensivu performing Markku Klami's Elegia with TampereRaw Ensemble at Tampere Biennale Festival 2022 < Back to News

Oi surkaa Mixed choir or vocal ensemble Composed: 2010 Score / parts Music Finland Instrumentation and duration Vocal ensemble or mixed choir (8 parts) Duration: 4 minutes Text Poem Nuori karhunampuja (“The Young Bear Hunter”) by Risto Oikarinen First performance Vocal ensemble of Helsinki Chamber Choir, cond. Eric-Olof Söderström, Concert hall of Sibelius Academy, Helsinki, Finland, December 5, 2010 Composer's Notes This piece is based on a poem by Risto Oikarinen , which in turn draws inspiration from Aleksis Kivi’s poem Nuori karhunampuja (“The Young Bear Hunter”). In both texts, I feel that dark and desolate shades of transience and loss rise to the surface. My interest in shifting vocal timbres and sustained tones inevitably emerges in this work as well. So here is a brief atmospheric piece for eight-part vocal ensemble which, despite its somber subject matter, dares to burst into a major triad. My apologies. < Back to Music

Etudes Guitar Composed: 2021 Watch / listen Markku Klami: Etudes , performed by Patrik Kleemola Score / parts Edition Wilhelm Hansen Instrumentation and duration Guitar Duration: 35 minutes Movements I. Arioso II. Memoria (Remembrance) III. Riite IV. Agitato nervosamente V. Nocturno. Väre (Ripple) VI. Puro (Stream) VII. Unisono VIII. Avautuen (Unfolding) IX. Kangastus (Mirage) X. Roihu (Blaze) Commission / dedications Written for Patrik Kleemola with funding from Finnish Cultural Foundation and Arts Promotion Centre Finland Publisher Edition Wilhelm Hansen / Wise Music Classical First performance First concert performance of the whole cycle: Patrik Kleemola, guitar, Sibelius Academy International Guitar Conference, Organo hall, Helsinki Music Centre, Helsinki, Finland, February 3, 2023 YouTube premiere Patrik Kleemola released weekly videos of each Etude, accompanied by conversations between him and Klami, on his YouTube channel from September 27 to November 29, 2021. Reflections Article: "Evocative online premieres for Markku Klami's splendid Etudes for guitar from Patrik Kleemola", published on Adventures in Music by Jari Kallio November 15, 2021 Within the realm of contemporary music for guitar, there’s a fascinating new score in town, namely a cycle of ten Etudes (2021) by Markku Klami , written for the Finnish guitarist Patrik Kleemola , who has been premiering the pieces on a weekly basis on his Youtube channel . Begun with the first performance of Etude 1 Arioso on 27 September, the series is to conclude on 29 November with the premiere of Etude 10 Roihu (Blaze) . According to the composer’s foreword to the score published by Edition Wilhelm Hansen , the initial idea for a set of new etudes came up in a conversation between Klami and Klemola back in 2017. As long-time collaborators, both the composer and the guitarist shared the point of view that contemporary music doesn’t play a substantial part in the repertoire of students in music institutes. Adressing the issue, the Etudes aims to contribute to the availability of contemporary music in the repertoires of students, also younger students. Although the cycle has a clear pedagogical function, the set is also conceived as a series of fully-fledged concert pieces for students and professionals alike. The technical difficulty level increases gradually as the cycle proceeds; while the first etudes are accessible for both younger and more experienced students, the last ones are targeted at professionals. In addition, the score provides some flexibility, most notably in terms of tempi, thus making individual pieces suitable for a wider range of performers. In musical terms, the Etudes seek to portray a series of moods and vistas often rooted in various natural phenomena, while maintaining their pedagogical goals. As a result, the cycle contains marvellously evocative musical settings, ideally suited for concert performances. The first two etudes, Arioso and Memoria (Remembrance) focus on different left hand legato techniques, woven together with natural harmonics and ornamentations, giving rise to reflective soundscapes of extraordinary communicativeness. In similar vein, the evocative third etude, Riite , introduces chorale-like chord progressions juxtaposed with one-finger tremolo, played with the left hand’s thumb, inspired by the composer’s experiences on performing Richard Rodney Bennett’s Impromptu No. 2 (1968). The title refers to the old Finnish word meaning a very thin layer of ice on the water’s surface, as reflected by the almost static delicacy of the music. In contrast, the fourth etude, Agitato nervosamente , is conceived in percussive textures, with notes hammered on the fretbard with both hands. A study of interwoven legato and arpeggio figures, Adagio nervosamente fuses technical dexterity with musical narrative in the most inspired manner, showcasing the dual nature of the Etudes with admirable invention. In the ensuing Nocturno , subtitled Väre (Ripples) , aspects of microtonality are introduced by plucking the strings over the fingerboard on the ’wrong’ side of the left hand grip as well as by muting the strings with the right hand while hammering them with the left hand. Summoned by the extended techniques, a series of rippling textures are introduced, to a dazzling effect. The sixth and eighth etudes, Puro (Stream) and Avautuen (Unfolding) salute the 1970s minimalist styles of Steve Reich and Philip Glass , with their arpeggio passages and slowly transforming harmonies conceived as conscious homage. Yet the two etudes are not mere soundalikes of the two pioneer’s music, but ingenious miniatures of their own right, containing some of the most instantly appealing sonic tapestries in the series. Arpeggio passages come at play in the Unisono seventh etude too, this time within the varying rhythms in time-signatures of 7/16 and 8/16 in the outer sections. At the core of the etude lies the Più tranquillo ma poco pesante central section, with its sublime key motif appearing in octaves. A study of parallel melodic lines and repetitive plucked patterns, Unisono bears family relationship with the two etudes surrounding it, while maintaining an identity of its own. The two last etudes, to be premiered online 22 and 29 November, respectively, constitute two very different musical realms. The ninth etude, Kangastus (Mirage) , picks up where Unfolding left, introducing chord progressions realized with a glass slide. Coloured by exquisite combinations of vibrato and tremolo effects, alongside various types of extended techniques, the score of Mirage conjures up sounds far revoved from those typically associated with the guitar, resulting in a wondrously surreal sonic experience. The concluding etude, Roihu (Blaze) , comes off as definite finale . The most extended in the series, the tenth etude is a virtuosic summa, combining several techniques introduced throughout the cycle. A concertante piece at its finest, Blaze lives up to its name, providing the listener and the performer, certainly, with multi-layered challenge and entertainment. As a whole, the Etudes constitutes an inspiring and insightful cycle of musical tableaux, delightfully adding up to the repertoire, in terms of pedagogue as well as concert programming. The ten-piece set brings together several stylistic layers, reworked into a logical musical continuum of evocation and reflection. The online premiere series is conceived in a playlist of circa six-minute video clips, each featuring a premiere performance by Kleemola, followed by a short discussion between the composer and the guitarist, in Finnish, with English subtitles. Following their online firsts, Etudes 6-8 and 10 will receive their live premieres in a series of concert performances by Kleemola in Finland and Italy later this fall. From there, the musical journey will carry on with students and professional performers alike. Interview: "New works for clarinet and guitar by Markku Klami", published on Rondo by Kimmo Korhonen September 1, 2021 “Music is a space where one can go to find calm,” says composer Markku Klami. “I experience composing as a form of escapism from today’s turbulent and hectic world. Over the past ten years, I’ve been particularly interested in how music affects our experience of time and space. My pieces often unfold slowly and have a meditative quality, which I see as a conscious commentary on modern life.” That’s how Markku Klami (b. 1979) describes his artistic starting point. This September, his new music will be featured in two different events. Clair II for clarinet and large ensemble will be premiered on September 16 in Seinäjoki, with Lauri Sallinen as the soloist alongside the Seinäjoki City Orchestra. Beginning September 27, Patrik Kleemola’s YouTube channel will present Klami’s 10-movement Etudes for guitar, released one piece per week. Klami has long-standing collaborations with both Sallinen and Kleemola. One of his career’s key works so far has been the clarinet concerto FUME written for Sallinen, which was included in the jury’s recommendation list at the Uuno Klami Composition Competition in 2009. Other milestones include his first orchestral work Flow for string orchestra (2004), the children’s opera Tulevaisuuden retki ( A Journey to the Future , 2010), and the puppet opera Croak (2016–18). His next large-scale project is a Requiem for violin and orchestra commissioned by Maria Puusaari . Clair II (2020–21), written for Lauri Sallinen, represents the third phase in a series of works built around shared material. “The first piece in the cycle was Clair Sketches (2012) for clarinet, bandoneon, and string quartet, which I wrote for Lauri’s debut concert at the Sibelius Academy. I had leftover material, which I later used in a larger version titled Clair for the same instrumentation. Then Lauri asked if it could be adapted for a slightly larger ensemble including winds. While that would have been possible, the material instead evolved into a new piece. I’d say this final version consists roughly 50/50 of new and previously existing material,” Klami explains. For Klami, finding the right title is an essential part of the creative process. “I can’t even begin sketching unless I have a title and a general vision in mind. The name Clair just came to me—and in some language, it means bright, glowing, or transparent.” Though Clair II is a single-movement piece lasting about fifteen minutes, it contains many contrasting sections. “The clarinet plays a more prominent role than the other instruments, but this is not a traditional concerto setting. At times, the clarinet blends into the ensemble,” says Klami. Collaboration with performers is a vital source of inspiration in Klami’s compositional work. Klami has worked with guitarist Patrik Kleemola for nearly two decades. Guitar is familiar terrain for Klami, as he studied the instrument for about four years during his composition studies, including lessons with Timo Korhonen and Ismo Eskelinen . Kleemola premiered four of the ten Etudes (2020–21) at the Sibelius Museum in Turku in November 2020. Now, the complete cycle will be released on Kleemola’s YouTube channel. Each performance will be accompanied by a conversation video between Klami and Kleemola, discussing both pedagogical and compositional aspects of the music and highlighting the collaborative process between composer and performer. While the premiere format might seem like a response to the pandemic, that wasn’t the case. “This approach suits the COVID era well, but we actually decided back in 2017 that the etudes would be published on YouTube,” Klami notes. Each etude focuses on a specific texture or technical aspect. “I wanted to address certain technical topics, but I also definitely intended for these to work as concert pieces. They can be performed as a full suite or individually.” “The etudes increase in difficulty as the cycle progresses. The first five or six pieces are playable by advanced music students, while the later ones pose challenges even for professionals. The final etude was specifically requested by Patrik for himself, so I was free to include anything as difficult as possible,” Klami explains. “Some etudes also explore unconventional playing techniques, helping performers gain access to the language of new music. Many extended techniques aren’t inherently difficult—they just need to be known.” In addition to the video series, the dissemination of the Etudes is supported by their publication by the esteemed Edition Wilhelm Hansen . Text: Kimmo Korhonen Original article on Adventures in Music , published by Jari Kallio Original interview on Rondo , published by Kimmo Korhonen Composer's Notes Etudes for guitar continues my long collaboration with the Finnish guitarist Patrik Kleemola . The initial idea for a set of new etudes for guitar came up in a conversation I had with Kleemola back in 2017. Our mutual point of view was that contemporary music doesn’t play a substantial part in the repertoire of students in music institutes. In fact, the vast and rich oeuvre of today’s composers is something that students only come across during their academic studies in music. As we see it, the situation is more or less the same around the world. Our wish was to address this issue and contribute to the availability of contemporary music in the repertoires of students, also younger students. Although Etudes is pedagogically designed to target different playing techniques—both traditional and unconventional—my aim was just as much to compose pieces that would be suitable for concert use by students and professional guitarists alike. The result is a collection of ten etudes covering a wealth of moods, styles and sonic possibilities of a solo guitar. The technical difficulty level increases gradually as you progress through the etudes. The first etudes are suitable for younger and more experienced students alike, whereas the last etudes are primarily targeted at professional guitarists and students pursuing their professional degree in music. Since the beginning of this project, Kleemola and I had agreed to make video recordings of each etude, which will be published on Kleemola’s YouTube channel. Targeted to an international audience, each performance video is accompanied by a conversation video with Kleemola and me, where we further explain the pedagogical and musical aims of the individual etudes. These videos will be accessible on Kleemola’s YouTube channel from September 2021 onwards. < Back to Music

Tulevaisuuden retki Children's opera: 2 soloists, reciter, ensemble Composed: 2010 Score / parts Music Finland Instrumentation and duration Children's opera: soprano, tenor, reciter, ensemble: clarinet, horn, percussion, piano, violin, cello Duration: 1 hour Libretto Libretto by Emma Puikkonen Acts / scenes One act: Introduction and eight scenes. Scene 7 includes two alternative versions, with the audience choosing during the performance which one will be performed. Commission / dedications Commissioned by ArtSoppa Society and Turku 2011 European Capital of Culture First performance Kirsti Tuominen, soprano, Timo Turunen, tenor, chamber ensemble, cond. Pasi Helin, Linna Theatre, Turku Music Festival & European Capital of Culture 2011, Turku, Finland, August 6, 2011 Reflections Concert review, published on Turun Sanomat by Katariina Norontaus February 2, 2011 A Children’s Opera That Doesn’t Underestimate Its Audience An unusual world premiere took place on Tuesday morning at Pääskyvuori School. The children’s opera Tulevaisuuden retki ("Journey to the Future"), part of the European Capital of Culture programme, tells the story of Jaspriina Akuliina Harvahammas Möttönen, who is given a mission by the President: to travel into the future and bring back something exciting, something to brighten up everyday life—and a pickle jar opener. Produced by the Turku 3011 Children’s Opera team and ArtSoppa Society, the opera aims to introduce children to the world of modern opera both as audience members and creators. Workshops related to the opera were held last semester in twelve elementary schools. “We specifically wanted to include schools without any special emphasis or focus areas, and that are located outside the city centre,” says producer Krista Leivo . Six classes participated in composition workshops, while three classes contributed to the set design and libretto. The latter groups’ creative input is strongly reflected in the final production. A Libretto with Child's Logic An hour of modern atonal music might sound like a tough listen—even for most adults. But composer Markku Klami , who composed Tulevaisuuden retki , has found through teaching and workshops that children tend to approach music with more openness than adults. “That’s why I didn’t try to write music that sounded like children’s songs—I approached it from a completely different angle.” Director Tapio Väntsi is also pleased with how the children received the hour-long performance. “There was some fidgeting in the front row—that’s where the youngest kids were sitting. One teacher even said there haven’t been many performances that students have watched so still and focused.” Emma Puikkonen , who wrote the libretto based on texts by the children, noticed that the same things that made them laugh in class also worked in the audience. < Back to Music

Värein Piano, 4 percussionists and string orchestra (young players) Composed: 2016 Score / parts Music Finland Instrumentation and duration Piano, 4 percussionists (marimba, 2 xylophones, vibraphone, gran cassa, Tam-tam) and string orchestra (young players) Duration: 11 minutes Commission / dedications Commissioned by The East Helsinki Music Institute for their 50th Anniversary. Dedicated to The Helsinki Strings, their conductor Jukka Rantamäki and the East Helsinki Music Institute on their 50th Anniversary First performance Students of the East Helsinki Music Institute and the Helsinki Strings, cond. Jukka Rantamäki, Temppeliaukio Church, Helsinki, Finland, May 26, 2016 Reflections Concert review, published on Hufvudstadsbladet by Mats Liljeroos May 27, 2016 Naturally, the classics made an appearance—anything less would have been surprising—but significant emphasis was also placed on new music. The program featured no fewer than five works written for the anniversary year, three of which received their world premieres on Thursday. Eetu Ranta-aho , himself a former student and now a teacher at the institution, contributed two pieces: Tuuli nousee for wind ensemble and Tre stycken (with the titles Godot , Adowa , and Zemlya ) for cello and double bass ensemble. Both works were thoughtfully tailored to their respective contexts without compromising musical substance. The same could be said for Matthew Whittall’s Archipelago for guitar orchestra, which caressed the ear with its meditatively flowing harmonies. Walking a Fine Line A central challenge in this context is, of course, that much of today’s art music is too technically advanced for pedagogical use. This is something Markku Klami has sought to address in his sonically sensitive Värein for string orchestra, four percussionists, and piano—a substantial and rewarding piece that offers plenty to sink one’s teeth into, without overwhelming the performers. Composer's Notes This work marked a new kind of opening for me in that it had to be tailored to suit young performers. New music is sometimes perceived as extremely difficult and a challenging terrain that only highly polished professionals and virtuosos can navigate. At times, that image is justified. Still, I believe composers write far too few works for young musicians. Occasionally (though thankfully less often these days), one even hears (self-)congratulatory remarks about how impossibly difficult and demanding a new piece is. Perhaps partly because of this, new music has often remained distant from students at the early stages of their studies. Ironically, it’s the contemporary music scene itself that suffers from this: it may appear narrower, more one-dimensional, and harder to approach than it really is. A composer must be able to adapt their ideas and expression to suit different ensembles and various needs. Perhaps it’s the teacher in me who sees it as a personal mission to make new music available even to younger students… Access to the incredibly rich world of contemporary music should be a right, not a privilege. It’s a great honor for me to hear the premiere of my new work performed by the extraordinarily talented students of the East Helsinki Music Institute and the Helsinki Strings. Among them are many of my current and former students. Värein is dedicated to the Helsinki Strings, their conductor Jukka Rantamäki, and the East Helsinki Music Institute on its 50th anniversary. Congratulations, the East Helsinki Music Institute – may music continue to bring joy, inspiration, and light into the future! < Back to Music

TampereRaw to premiere Markku Klami's Elegia at Tampere Biennale Festival Mar 29, 2022 A new work for soprano and Pierrot ensemble, titled Elegia (Elegy) by Markku Klami will be premiered by soprano Tuiki Järvensivu and TampereRaw, a Tampere-based ensemble of contemporary music, at Tampere Biennale Festival on April 7, 2022. A new work for soprano and Pierrot ensemble, titled Elegia (Elegy) by Markku Klami will be premiered by soprano Tuiki Järvensivu and TampereRaw , a Tampere-based ensemble of contemporary music , at Tampere Biennale Festival on April 7, 2022. The texts sung in Elegia's three movements are poems written by Katja Klami . The subjects of the poems focus on human destinies, especially resignation and loss. The three poems, Minä kuvittelin sinulle elämän (I imagined life for you), Hiipuen (Fading) and Palava maa (Burning earth) , focus on unwanted infertility, the caregiver experiences of memory-impaired patients, and climate change and global conflicts. The titles of the poems are echoed in the titles of Elegia's three movements. The commissioner, Tampere Biennale Festival, proposed a wish that the texts in Elegia would focus on human destinies. During the composition work, Katja Klami's poems turned out to be not only timeless, but also very topical. Elegia was completed in late February 2022, just a day after Russia's invasion of Ukraine. The short and captivating words of the last poem, Palava maa , reflect on the effects of human actions on the environment and nature as well as on other people. Teosto , the music copyright association in Finland, recently released a blog article by Markku Klami about the composition process of Elegia and how the poems by Katja Klami affected the process. Elegia is written for soprano, flute, clarinet, violin, cello and piano and was commissioned by Tampere Biennale Festival. The commission was supported by the Sibelius Fund. < Back to News

Mari Mäntylä's album Passing Shadows featuring Markku Klami's Fractured (Memoria II) nominated for Emma Classical Award 2026 Dec 18, 2025 Mari Mäntylä’s album Passing Shadows (Alba Records, 2025) has been nominated for the Emma Classical Award 2026—part of the Emma Awards, Finland’s most prestigious annual honours celebrating artistic achievement in recorded music. The album features newly commissioned works, including Markku Klami’s Fractured (Memoria II). Mari Mäntylä’s album Passing Shadows (Alba Records, 2025) has been nominated for the Emma Classical Award 2026, one of the most prestigious annual recognitions in Finnish music. The Emma Awards, presented by Musiikkituottajat – IFPI Finland, honour outstanding artistic achievements in recorded music and play a central role in celebrating and supporting Finland’s diverse and vibrant music culture. Passing Shadows features new music written especially for Mäntylä, highlighting her long-standing commitment to expanding the repertoire of the decacorde, the ten-string classical guitar that is her principal instrument. Among the works on the album is Fractured (Memoria II) by Markku Klami , composed for solo decacorde and commissioned by Mäntylä. Markku Klami: Fractured (Memoria II) , performed by Mari Mäntylä Mari Mäntylä: Passing Shadows (Alba Records, 2025) Mari Mäntylä is widely regarded as one of Finland’s leading guitarists. She has performed extensively as a soloist and chamber musician across Europe, Russia, the Middle East, and Asia, and has collaborated with numerous Finnish and international composers. Through premieres of new works—particularly for the decacorde—she has played a significant role in increasing the instrument’s visibility and artistic potential. Her repertoire spans music from different historical periods, often characterised by intimacy, subtlety, and a sense of timelessness, while also embracing stylistic versatility. In addition to contemporary classical music, Mäntylä has worked with folk musicians and performed as a guitarist with the ensemble Tirioni, specialising in Portuguese fado. Her long-running chamber collaborations include Duo Dryades with bandoneónist Kristina Kuusisto , whose recordings have received wide critical acclaim, including a previous Emma nomination. Mäntylä’s solo and chamber music recordings have consistently been praised by the press in Finland and internationally, and her work has been featured on radio and television in several countries. She is a lecturer in guitar and chamber music at the Kuhmo Music Institute and continues to be a central figure in the Finnish contemporary music scene. Read more Mari Mäntylä's website Emma Awards website < Back to News

...and there's always music in the air." Flute and string quartet Composed: 2011 Score / parts Music Finland Instrumentation and duration Flute and string quartet Duration: 15 minutes Movements I. Shadow of a twisted arm across my house II. Garden in the city of industry III. I see myself Commission / dedications Hommage to David Lynch First performance Johanna Kärkkäinen, flute, Into String Quartet: Linda Suolahti, violin, Sirja Puurtinen, violin, Mari Viluksela, viola, Jarkko Launonen, cello, Ajassa 2011! Festival, Kapsäkki Music Theatre, Helsinki, Finland, March 15, 2011 Composer's Notes March 15, 2011 The immaculately polished façades and the simmering tensions and traumas beneath—sometimes culminating in harrowingly perverse events and devastating human fates triggered by the collapse of those façades—seem to lie at the very core of David Lynch’s (1946-2025) surreal and dreamlike cinematic storytelling. They are the fuel that keeps his creative flame alive. Onto this stage, where the theatre of self-centered—thus deeply human—artificiality and superficial well-being inevitably collides with merciless truth, Lynch casts game pieces in the form of characters that are often absurd and highly stylized. Yet these characters, with painful precision, illuminate the deepest traits of the human condition. Crippled by their own weaknesses, or sometimes crushed by faceless structural violence, they reflect a bleak picture of the society we live in even today. In Lynch’s stark visions, the horror of recognizing—or denying—truth can, at its worst, completely shatter the mind, leaving one lost in the shadows, as happens to Fred in Lost Highway (1996). Often, physical death becomes the only release from pain and hopeless dead ends. “In heaven, everything is fine,” sings a woman in Lynch’s first feature-length film Eraserhead (1976). Similarly, in Mulholland Drive (2001), Diane, overwhelmed by a bleak past and unbearable guilt over a horrifying deed, chooses irreversible detachment from her suffering and burdens. What remains is only eternal peace and silence— silencio . Having followed Lynch’s films, television projects, paintings, photography, writings, and other endeavors since the 1990s, I’ve long been drawn to the idea of exploring the intense thoughts and emotions these works have stirred in me through musical means—not by interpreting, explaining, or deconstructing them, but by creating a kind of “musical state of being,” a personal sonic response or echo to the images and feelings they’ve evoked in me. I recall already considering such a project in the autumn of 2003, so the idea has been gestating for a long time. The process has started and stalled many times, and the instrumentation has changed repeatedly along the way. Other, more clearly defined projects have often taken priority, and my thoughts on this work have remained in constant flux. Yet the idea always returned to me, resurfacing from time to time. A fitting opportunity to finally realize the piece arose when I was invited to contribute a work to this evening’s concert. The instrumentation changed once more, but the combination of flute and string quartet felt like a natural fit for the ideas that had been with me for so many years. This piece is dedicated, with my deepest respect, to the great visionary, thinker, and humanist David Lynch. < 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

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