ESTONIAN SYMPHONIC MUSIC. THE FIRST CENTURY 1896-1996.
music probably meant to reflect the noble peace in the new society.
As for form and colour the programme has no convincing realisation. Kuulberg
has reflected on the situations in a general scheme. His long “brush strokes” are
convincing but cannot be said to be pithy. In the slow movement the strokes seem to be
neutral, the result of an observation from a distance. A grand grasping general theme
that should infuse the work is missing. The Russian musicologist Dina Daragan
commented:
The sound images of the symphony are very concrete, almost visible and involuntarily leading
to a chain of pictures… This adds the features of a poem to the work. At the same time the
development of the Finale is very loose, in our opinion. It becomes dull and dawdling. The
lyricism of the third movement naturally replaces the dramatic tension of the former but it lacks
perfection.1
The Third Symphony (April), completed a year later, definitely illustrates the
annaabi.ee 
