ESTONIAN SYMPHONIC MUSIC. THE FIRST CENTURY 1896-1996.
inflection, purposeful thinking, refined orchestration framed by logical form and
balanced spirit. His thematic development relies first on the variant principle, with lyric
and epic tones dominating. There is no sharp struggle and cutting inner tensions. The
expressionistic “screams” and “groans” are not familiar to him. 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
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