ESTONIAN SYMPHONIC MUSIC. THE FIRST CENTURY 1896-1996.
Tamberg has not
followed some national pattern but one can highlight his crisp colouring evident in
chords-in-fourths, in diatonic usage and functional subdominants.
During the following decade his language becomes more refined, psychology
more profound, leading to the use of dodecaphony in his ballet Joanna tentata (1970).
Looking back at the path trodden by the composer, musicologist Priit Kuusk remarks:
I am not trying to absolutise the priority of Tamberg in several genres both in Estonian and
Soviet music, but nevertheless it may be said that from the very beginning of his creative work
his aim has been to fill some gaps in Estonian music with his output. 1
Tamberg as a composer has always paid attention to contemporary society and
its problems; it is reflected in his film music, in oratorios, for example,
Kuupaisteoratoorium (Moonlight Oratorio), Amores and incidental music. He has
annaabi.ee 
