See vorm kandus ristiretkede vahendusel koos fantastiliste Palestiina lugudega Euroopasse ning muutus vastavalt fée’ks (prantsuse k), 1 Elfe mainitakse, nii heledaid kui ka tumedaid, ja Alfheim, nende kodu, on mõnikord kirjeldatud kui ühte üheksast maailmast. 2 “The first, beings of the human race, but endowed with powers beyond those usually allotted to men, whom we shall term FAYS, or FAIRIES OF ROMANCE. The second, those little beings of the popular creeds, whose descent we propose to trace from /…./ northern mythology, and whom we shall denominate ELVES or POPULAR FAIRIES” (Keightley 1850:13) 8 Tänapäeva eesti inimese kujutlus haldjast ehk kes haldjas on olnud ja kelleks ta on saanud fay’ks või fairy’ks (inglise k) (Keightley 1850:7). Aja jooksul ahenes sõnade tähendus ning nad
Eespere demonstrates convincingly the possibility of presenting attractive profound music without uproar. In the Nineties, we observe polarised handwritings, some of them drastically combining “traditional” and modern means of expression (Tüür), others setting up colour play as the essential means (Sumera’s last symphonies and Tulve), and yet others recognising and searching for ties with national folk heritage in a different degree and on diverse creeds (Eespere, Sisask, T. Kõrvits). There are inclinations towards impressionistic colouring (Vihmand, Tulve). We notice that the number of symphonies introduced in this decade was considerably smaller: only ten. In principle it is a hard struggle to won a “battle” with 1 The first performance took place at the author’s concert in Tallinn, 28 Nov. 1992. The NYYD Ensemble was conducted by Olari Elts. this intricate great genre
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