The main theme (Allegro) is full of energy, like a challenge: Example 5. The thematics of the overture is concentrated; the development section is based on recurrences of themes and their modifications. The mutability of timbres, both the openness of harmonic “direction” and the non-quadratic form are remarkable features. Tobias is applying the principle of motivic development, yet all the themes maintain their basic character evenly in the process. In harmony the classical homophonic foundation is obvious. The leading role belongs to the strings, while the 1 First performance in Tartu, Vanemuine Theatre, 19 Nov. 1907, composer conducting. solos of the brass are unpretentious, giving the whole texture an airiness of sound. The inflexionally intensified repetitions build the tension in the whole. In his work Tobias appears as a pathetic rather than a psychologically dramatic composer. The inner world of his hero Caesar has been explored convincingly and with
Your Majesty having 66,000 men in those states [the Netherlands], it would be nothing to allot 6,000 to so pressing a need. Should your refusal become known, all will be lost. ... I said nothing about that to the Duke of Parma. . . . The Duke of Mayenne stated to me that it was his wish to become king; I could not hold back my surprise. . . ." The message was couched in a new nomenclator that Philip had specially given Moreo when he departed for France; it consisted of the usual alphabet with homophonic substitutions, plus a code list of 413 terms represented by groups of two or three letters (LO = Spain; PUL = Navarre; POM = King of Spain) or of two numbers, either underlined (64 = confederation) or dotted (94 = Your Majesty). A line above a two-digit group indicated a null. Moreo's letter had been dated October 28, 1589, and despite Viete's experience and the quantity of text, it was not until March 15 of the following year that Viete was
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