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Giro

1981, rev. 1997 (10 minutes)

Composed for: Works for orchestra

First performed: Tampere Philharmonic Orchestra, cond. Esa-Pekka Salonen, Tampere, 27 November 1981, First performance (revised version): Avanti! Chamber Orchestra, cond. Esa-Pekka Salonen, Summer Sounds, Porvoo, 29 June 1997

Instrumentation: 2(afl)2(ca)2(bcl)2(cbn)/4220/perc/hp.pf/str(min 8.6.6.6.4)

Antti Häyrynen: ‘Giro has had a long and complicated history, perhaps with good reason since the title of the piece means 'turn’ or ‘rotation’ in Italian. According to Salonen, the title refers to the harmonic model he uses in the work, in which a scheme of seven chords revolve around a common focus, producing constantly shifting, yet almost impressionistically luminous harmony.‘
© Antti Häyrynen, Helsinki Festival 1999 (translation: by Jaakko Mäntyjärvi)

Salonen: ‘The first version of the piece was written in 1982 for my debut concert with the Tampere Philharmonic Orchestra in Finland. I was not satisfied with the piece after the first performance – the orchestral textures were too complicated and fussy, and the form was unclear, lacking a coherent shape and a point of culmination. In those days I was aware of the problems, but didn’t know how to solve them yet. I decided to withdraw Giro, but also decided not to destroy the score.

Fifteen years later, when Anssi Karttunen, then the Artistic Director of the Avanti! Chamber Orchestra, asked me to write an opener for my concert at the Orchestra's summer festival, I had the idea of looking at Giro from a new angle, with fifteen year's worth of experience as a conductor and a composer. I simplified the rhythmical structures, optimised the instrumental writing, and – perhaps most importantly – reinterpreted the harmony in an almost tonal way. With the help of a computer analysis program, I created imaginary fundamental bass notes, which would interpret each chord I used previously within the context of the harmonic series. In other words, every chord got a tonal function. This method allowed me to use the full sonority of the symphony orchestra. I also composed an entirely new section towards the end of the piece, and rearranged the previously existing formal units.

The result is a short ‘Symphonic Poem’ in the genre of Debussy's L'après-midi d'un faune or Sibelius' Oceanides. The form is now clear, and the orchestration totally functional. I also managed to preserve some of the original Giro's elusive character, which I still find very attractive.’

Published by: Chester Music Limited

Copyright: Esa-Pekka Salonen

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