ESTONIAN SYMPHONIC MUSIC. THE FIRST CENTURY 1896-1996.
The
smallest good intentions are drowned in, or choked by, this wild spontaneity. A human
being seems to be the toy of demonic forces.
The Finale of the Eighth Symphony (Lento tenuto e maestoso; a three-part
compound form) is like funeral music. A lamenting, crumpled theme from the brass has
no strength to stand up. The thought remains open both in its content and form like an
1
Herbert Connor. Eduard Tubin – est, svensk, kosmopolit. Svensk Tidskrift för Musikforskning 60 (1978):
1.
unanswered question. Unexpectedly, there is a passionate gust of emotions (the
subsidiary theme of the first movement) and after a sublime epic rise the lamentations
expire. The truth of life has become an artistic truth.
The style of Eduard Tubin that began developing with his Second Symphony,
has reached a certain high point in this work. The typical features of these symphonies
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