"conservatism1" - 1 õppematerjal

ESTONIAN SYMPHONIC MUSIC. THE FIRST CENTURY 1896-1996.

playfulness, and closure. With all this complexity there must be for the listener a 1 Heimar Ilves, personal conversations with Uno Soomere, October 1974. 2 Eino Tamberg, interview with Annika Koppel, Postimees, 17 Apr. 1998. recognisable value-judgement core: it may be comprehensible either semantically or absolutely. We must not forget that all change and transition in Estonian symphonism, in whatever period, never dominated all the composers. Perseverance, poise and conservatism1 have shown, usually later than sooner, that all is not gold that glitters from afar, and chasing “fresh-isms” may prove to be a naïve and infantile stimulation. “Concrete” music, instrumental (absurdist) theatre, “happenings” – such affairs do not, in my opinion, illustrate an exceptional talent, but rather feebleness. One of the great absurdities seems to be the fusion of many antagonistic styles, methodologies and