ESTONIAN SYMPHONIC MUSIC. THE FIRST CENTURY 1896-1996.
Kapp likes to
explore themes expansively; their variants may deviate from the original:
Example 20.
The closing theme (Corno solo) is consoling, drawing a deep breath, a mild and
somewhat melancholic companion to its forerunners. In the developmental process the
subsidiary theme has been fully transformed into a grave, massive and forceful brass
sound. The main theme appears tumultuously.
The second monothematic movement is a quiet, wistful unison-monologue for
bassoon and violoncellos. The composer’s free meditation, sounds like a compound of
different interwoven, increasingly strenuous, motifs. The former loneliness and sadness
has been replaced by inner tranquillity:
Example 21.
The Finale is based on a theme, an ancient melancholic Estonian tune, with
variations:
Example 22.
The composer is attempting to rid himself of bleak thoughts. The sixth variation
annaabi.ee 
