ESTONIAN SYMPHONIC MUSIC. THE FIRST CENTURY 1896-1996.
Two contrasting images are
used as the basic material: the dodecaphonic row, first exposed by one of the pianists,
and the wedding song phrase, exposed by the strings. The rest of the scheme is fully
rational: cumulating sound massif (quartet plus wind instruments) opposed to recurrent
phrases from the strings. The male choir sounds static, the sounds of a dodecaphonic
row are added one after the other (text: For ages we waited). The texture is layered and
this kind of heterophonic thickening by constantly adding new layers will become
characteristic of Marguste’s works.
Greater systematic logic is evident in his Fourth Symphony (1967).2 It consists
of four movements that are not based on classical schemes. The work is based on the
opposition of static and lively material. Two folk-dance melodies: Targa rehealune (The
Barn of the Sage) and Pikk ingliska (Long English Dance) are used as basic themes.
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