Markku Klami wins the Finnish MPA Award Sep 10, 2026 Klami wins Classical Composer of the Year 2026 Award for his Violin Concerto: A Requiem Markku Klami wins the Finnish Music Publishers Association Classical Composer of the Year Award for his Violin Concerto: A Requiem in the large-scale works category. Violin Concerto: A Requiem was commissioned by violinist Maria Puusaari . Part of the Tampere Biennale Festival, the work was premiered by Puusaari on 17 April 2026 at Tampere Hall, Finland with Ruut Kiiski conducting the Tampere Philharmonic Orchestra. The jury describes Klami's Violin Concerto as follows: "The winning work in 2026 Classical Music Composer of the Year in the large-scale works category is a moving and universally human narrative rooted in a deeply personal experience. A carefully considered dramaturgy and emotional arc carry the expression from beginning to end. This is music made of sorrow – and how painfully beautiful it is: the longing in the solo violin can be heard so clearly. The work is a significant addition to the body of new Finnish violin concertos." “The power of the concerto, drawing on experiences of involuntary childlessness, and the contemplative nature of the work come together in a whole that grows beyond its personal point of departure into a broader narrative of loss, hope, and humanity,” the jury states. Read more Markku Klami wins the Finnish MPA Award (Wise Music Classical) Violin Concerto: A Requiem (Edition WIlhelm Hansen / Wise Music Classical) Winners of the Finnish MPA 2026 Awards (in Finnish) (Finnish Music Publishers Association) < Back to News

Stay up to date with news about Markku Klami’s music—premieres, recordings, collaborations, awards, and other highlights from his career. News Sep 10, 2026 Markku Klami wins the Finnish MPA Award Klami wins Classical Composer of the Year 2026 Award for his Violin Concerto: A Requiem Read more Jun 15, 2026 Markku Klami nominated for Finnish Music Publishers Composer of the Year award Klami's Violin Concerto: A Requiem is nominated in Composer of the Year category for large-scale works Read more May 20, 2026 Markku Klami's into the deep peace released on Audite chamber choir's album Voices of Earth Audite Chamber Choir’s new album Voices of Earth features six environmentally themed works, all commissioned for the choir’s 30th anniversary season. Read more 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 31, 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 29, 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 22, 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 23, 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 6, 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 23, 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 the Finnish Arts and Culture Agency, 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 Taide- ja kulttuurivirasto, 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. A major milestone came in August 1988, when he joined Chorus Cathedralis Iuniorum , the boys’ choir of Turku Cathedral. He would sing with the choir for a full decade, until 1998. These years in the choir would prove to be formative, not only musically but personally, as they exposed him to a wide repertoire, performance discipline, and the communal aspect of music-making—elements that would later shape his identity as a composer. 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). By the mid-1990s, Klami’s musical interests began to expand. He started experimenting with music-making on computers and, in 1995, took up guitar studies with Pasi Nieminen —an instrument that soon became his primary focus. That same year, he wrote his first publicly performed compositions and toured in Germany with Chorus Cathedralis Iuniorum. 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. Throughout the decade, Klami developed a strong presence in Finnish contemporary music festivals. His works were featured at Musica nova Helsinki, Avanti! Summer Sounds, Time of Music Festival, and Turku Music Festival. His music began to draw international attention, with performances in Iceland, Italy, Estonia, Sweden, Poland, and Slovakia. Klami's first work for symphony orchestra, sight – energy – vague – ocean , won the Helsinki University Orchestra's national composition competition in 2006 and was premiered by the orchestra and their conductor David Searle in Helsinki and Turku in April 2007. 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. Throughout the decade, Klami’s music featured prominently at international festivals such as Musica nova Helsinki, Nordic Music Days in Copenhagen, Zagreb Music Biennale, Taiwan International Guitar Festival, Atlantic Music Festival (USA), and Uuden Musiikin Lokakuu in Oulu. Notable premieres included red moon (Uusinta Ensemble, Suså Festival 2011), REPEAT (European Capital of Culture 2011, Nordic Music Days 2015), karu ( Timo Korhonen , Shin-ichi Fukuda , and Thomas Müller-Pering , Taiwan International Guitar Festival 2014), and aava (Timo Korhonen, Musica nova Helsinki 2015). 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. Klami’s FUME was a finalist in the Kaleidoscope Chamber Orchestra’s 2021 international call for scores in Los Angeles—selected from over 8000 submissions from 86 countries. That September, two significant premieres followed: Clair II , performed by Lauri Sallinen and the Seinäjoki City Orchestra, and the completed Etudes , released through a 10-week event on Patrik Kleemola’s highly acclaimed YouTube channel. In September, Etudes was published by Edition Wilhelm Hansen (Wise Music Classical Group), marking the beginning of an ongoing collaboration. Show more

Colours in Blue Guitar Composed: 2002 Watch / listen Patrik Kleemola , guitar Live recording from Wäinö Aaltonen Museum of Arts, Turku, Finland, October 15, 2002 Score / parts Music Finland Instrumentation and duration Guitar Duration: 11 minutes Movements I. Andante espressivo e molto rubato II. Adagio misterioso, poco rubato Commission / dedications Dedicated to Patrik Kleemola First performance Patrik Kleemola, guitar, Wäinö Aaltonen Museum of Art, Turku, Finland, October 15, 2002 < Back to Music

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 to Music

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 to Music

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

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

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

Markku Klami makes his New York debut with ensemble mise-en Aug 18, 2020 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. The New York-based contemporary music group ensemble mise-en will arrange their annual MISE-EN MUSIC FESTIVAL at MISE-EN_PLACE in Brooklyn, New York from August 17 to August 20, 2020. Due to the Covid-19 pandemic, the festival will have its concerts streamed live on YouTube. Each year, the festival program is carefully selected through the group’s annual Call for Scores, targeted to composers of contemporary music around the world. For their festival year 2020, ensemble mise-en selected Markku Klami’s aura for alto flute and electronics, among works by Ted Moore , Alessandro Massobrio , Seán Ó Dálaigh , Epa Fassianos , Jee Seo , Bradley Green , Rodrigo Cadiz , Angeles Rojas and Nicola Fumo Frattegiani . Kelley Barnett , the flutist of the ensemble will perform Klami’s aura on Thursday, August 20 concert at 2.30pm Eastern Time (ET). The concert marks the US premiere of Klami’s aura. The live stream of the concert on YouTube can be found here . Rehearsing via Zoom video call with Kelley Barnett for the upcoming US premiere of aura. As it is stated on their website, ensemble mise-en is a New York-based contemporary music collective led by composer Moon Young Ha . Comprised of talented young musicians, our personnel strive to bring a repertoire of challenging new sounds to diverse audiences. We wish to impart an experience that is simultaneously multicultural and intellectually and aesthetically pleasing. As a collective, the multinational personnel has coalesced around a real aesthetic agenda, crystallized in the name “mise-en”: “mee,” in Korean, means “beauty,” and “zahn,” “to decorate,” and the group unabashedly promotes “beautiful” artwork to increasingly diverse audiences of contemporary sounds. The ensemble promotes large-scale, dynamic performances of contemporary music featuring the works of established and budding composers. Since its inception in 2011, ensemble mise-en has collaborated with such esteemed partners as Washington Square Contemporary Music Society, International Alliance for Women in Music, Austrian Cultural Forum New York, Open Meadows Foundation, New York University, New York Foundation for the Arts, I-Park, Goethe-Institute Boston, Villa Gillet (FR) and others. To date, the ensemble has presented a total of 281 pieces, including 114 works written for the group, and 86 US/NY premieres. The ensemble has performed at exciting venues such as (le) poisson rouge, Bohemian National Hall, Italian Academy, the DiMenna Center, Tenri Cultural Institute and the cell. YouTube links for the concerts: MISE-EN FESTIVAL 2020, Concert I , Tuesday, August 18, 2020 at 2.30pm ET MISE-EN FESTIVAL 2020, Concert II , Thursday, August 20, 2020 at 2.30pm ET < Back to News

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

eikä merta enää ole Boys' choir or mixed choir Composed: 2007 Score / parts Music Finland Instrumentation and duration Boys' choir or mixed choir Duration: 7 minutes Commission / dedications Commissioned by Chorus Cathedralis Iuniorum for their 20th anniversary First performance Chorus Cathedralis Iuniorum, cond. Heikki Rainio, Turku Cathedral, Turku, Finland, September 15, 2007 Reflections Concert review, published on Turun Sanomat by Timo Lehtovaara September 17, 2007 Markku Klami , whose career as a composer is well on its way, has himself sung in Chorus Cathedralis Iuniorum at a young age. eikä merta enää ole is a demanding work for young singers. The motifs of minor and major seconds that bubble over the pedal point at the beginning burst into a smoothly flowing harmonic texture that, despite its chromaticity, remains very airy and clear-sounding. The bass and soprano voices are often situated quite far apart, which poses challenges in terms of intonation and balance. In spite of some uncertain moments, the choir survived the performance with honor. Klami's work is a great addition to the contemporary music repertoire for boys' choir. < Back to Music