ESTONIAN SYMPHONIC MUSIC. THE FIRST CENTURY 1896-1996.
to the First Symphony, optimism at the end. The final conclusions are different and
pointing to a certain shift in Pärt’s conceptions.
In the first movement violins create a silent background in clusters; a whistle is
blowing, papers rustle. Perplexity grows into bewilderment:
Example 101.
The evolving thought is expressed in two opposite ways: clarity (tonality) and
dimness (clusters). The increasing conflict is transformed into a sparkling and joyful
Klangefarbenmelodie, the dimness replaced by clarity. On the second movement Pärt
remarks on the eight-note-play: “A limp arrangement, exact play not allowed.”
Example 102.
Such an interpretation, together with special structure and orchestral timbres
depicts a grotesque picture. Bustle and rustling everywhere, the composer looks on with
a humorous smirk. Thereafter he lets in rough and menacing force (trombone).
Example 103.
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