"disquietude" - 1 õppematerjal

ESTONIAN SYMPHONIC MUSIC. THE FIRST CENTURY 1896-1996.

The first two symphonies together with the previous works constitute the first stage in the development of Sumera’s symphonic handwriting. This may be called the modal approach. Tending to be a “minimalist” he likes “situation expression”. The music is less constructive and mathematical than that of Reich or Glass but more essential than that of Pärt or Górecki. 3 In the two symphonies one can recognise a yearning after something elusive, a melancholic undertone, disquietude and a spirit of renunciation. The composer is wide open to the listener. The composer was not a grave national tragedian; we can hear much poetry, reverie and humour in his music, all through the prism of self-experience. The more we know, the more possibilities we have. The fact is none of the variations is either only good or only bad… obviously all artists must be somewhat naïve, otherwise it would not be possible at all to make art