"Composing Aarre was one of the most challenging tasks of my career, but also one of the most inspiring and rewarding. I spent two years working on the piece, with the biggest challenge being how to create the organ an integrated role in the orchestra, somewhere between a standard orchestral instrument and a soloist. I did not want to come up with an organ concerto, yet I still aimed to give the organ a significant role in the piece by using it in bringing new colors, textures, and harmonies to the symphony orchestra.
Understanding the possibilities and limitations of the Rieger organ was a crucial starting point. I spent the first six months studying the instrument and its capabilities, ultimately creating a large collection of organ material – only a small portion of which made it into the final piece. I was particularly fascinated by the organ's relatively large selection of overtone stops, which produce pure intervals moving in parallel motion. Throughout the piece, I frequently use parallel chordal movement based on justly tuned thirds, sevenths, and ninths. This 379-chord appears in various roles and contributes significantly to the harmonic identity of the work. The organ’s overtone registers provide microtonal possibilities, which in Aarre are further expanded through quarter-tone stops and the instrument’s Flexible Wind feature, with which tones and chords can be bended both upwards and downwards.
The microtonality of the organ is complemented by the orchestra, particularly the brass section, which from time to time is required to play in just intonation, as well as by string harmonics and clarinet multiphonics. While microtonality certainly plays a role in Aarre, its influence on the overall harmonic landscape is subtle. The piece also includes a significant amount of equal-tempered material. In addition to organ, Aarre includes solos for several orchestral instruments, bassoon, English horn, clarinet, harp, and French horns in particular.
The title Aarre (Finnish for treasure) refers both to the Rieger organ (an invaluable treasure in itself) and to the Finnish modernist composer Aarre Merikanto. His Konzertstück (1926), written for chamber orchestra with a soloistic cello part, is occasionally referenced and commented on in the organ part. Due to its dual meaning, the title Aarre is not to be translated into other languages.
Aarre was commissioned by the Helsinki Philharmonic Orchestra as part of its Helsinki Variations commission series."
(Olli Virtaperko, January 2025)
Instrumentation
for symphony orchestra and concert organ
2 flutes
alto flute (doubling piccolo)
2 oboes
english horn (in F)
2 clarinets (in Bb)
bass clarinet
2 bassoons
double bassoon
4 horns (in F)
3 trumpets (in C)
3 trombones (3rd bass trombone)
tuba
timpani
3 percussion
harp
celesta (doubling piano)
concert organ
strings 14/12/10/8/6
Press quotes
”The dialogues between the brass and organ solos, as well as the climactic moments of the piece, were impressive. The orchestra and the concert organ blended seamlessly together, making it at times impossible to determine the source of the sound. The organ’s inherently sacred dimension occasionally evoked thoughts of Olivier Messiaen. After the concert, the audience appeared visibly refreshed.”
– Henrik Järvi, Helsingin Sanomat, 16 February 2025
”Virtaperko has matured in mastering the full resources of the orchestra. This is a piece I would love to hear again.”
- Eero Tarasti, Amfion, 17 February 2025
”Beautifully served upon its first performance by its designated soloist Susanne Kujala and the Helsinki Philharmonic Orchestra under Nicolò Foron, Virtaperko’s score was clad in myriad fine detail, to enchanting effect. Conversing in admirably organic manner, Kujala and the orchestral players lived and breathed together throughout the performance in empowered unity.
Given Aarre’s sonic multitude, repeated hearings are needed to fully grasp its musical blueprint, yet its wealth of harmonic finesse and textural polish flooded the hall with aural allure, keeping the listener engaged from the silvery opening measures to the hazy double-bar.”
- Jari Juhani Kallio, AIM Adventures in Music, 20 February 2025
