life, musical portraits etc.) have found greater weight. The situation is reminiscent of an essential statement of Sibelius entirely acceptable today: “This is admirable what the young know today. A giant dock is built: but where is the ship?”1 The Finnish composer Kalevi Aho, possessing quite an extensive experience of Estonian music, provides the following stylistic classification of modern Estonian composers: 1. Traditionalism and tonic: Ester Mägi, Urmas Sisask 2. Folklorists and exotics: Veljo Tormis, Kuldar Sink, Sven Grünberg 3. Neo-Classicists and vitalists: Jaan Rääts, Raimo Kangro 4. Pluralists and successors: Eino Tamberg, Lepo Sumera, Erkki-Sven Tüür, Peeter Vähi 5. Neo-Impressionists: Alo Põldmäe 1 Santeri Levas, Jean Sibelius (Tallinn: Eesti Raamat, 1971) 275. 6. Neo-Expressionists: Mati Kuulberg, Toivo Tulev, Mari Vihmand. 2 Concluding with brief remarks about the disposition of some younger
Dorothy takes refuge in the empty house, the common dream symbol for an old personality structure. But the whirling forces of change, which she herself has stirred up, come sweeping towards her and no structure can protect against its awesome power. Refusal may be a subtle moment, perhaps just a word or two of hesitation between receiving and accepting a Call. (Often several stages of the journey may be combined in a single scene. Folklorists call this "conflation.") Refusal may be a single step near the beginning of the journey, or it may be encountered at every step of the way, depending on the nature of the hero. Refusal of the Call can be an opportunity to redirect the focus o f the adventure. An adventure taken on a lark or to escape some unpleasant consequence may be nudged into a deeper adventure of the spirit. A hero hesitates at the threshold to experience the fear, to let the audience
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