by Nature is unwilling to be subject to anybody save one who gives rules of conduct or is a teacher of truth or who, for the general good, rules according to justice and law. From this attitude come greatness of soul and a sense of superiority to worldly conditions. And it is no mean manifestation of Nature and Reason that man is the only animal that has a feeling for order, for propriety, for moderation in word and deed. And so no other animal has a sense of beauty, loveliness, harmony in the visible world; and Nature and Reason, extending the analogy of this from the world of sense to the world of spirit, find that beauty, consistency, order are far more to be maintained in thought and deed, and the same Nature and Reason are careful to do nothing in an improper or unmanly fashion, and in every thought and deed to do or think nothing capriciously.
offer would be any other than highly desirable. My situation in life, my connections with the family of de Bourgh, and my relationship to your own, are circumstances highly in my favour; and you should take it into further consideration, that in spite of your manifold attractions, it is by no means certain that another offer of marriage may ever be made you. Your portion is unhappily so small that it will in all likelihood undo the effects of your loveliness and amiable qualifications. As I must therefore conclude that you are not serious in your rejection of me, I shall choose to attribute it to your wish of increasing my love by suspense, according to the usual practice of elegant females." "I do assure you, sir, that I have no pretensions whatever to that kind of elegance which consists in tormenting a respectable man. I would rather be paid the compliment of being believed sincere
Tüür customarily cuts such lines short, inserting something different. Shadows of Pärt (Tabula rasa, first movement) and Rääts (Concerto No.1 for Chamber Orchestra, first movement) are quite noticeable in the outer movements of the Violin Concerto. Taking a broader look at Tüür’s creative output, the Estonian musicologist Evi Arujärv asserts: Inwardness, some closeness is characteristic to the works of Tüür. Nothing of sensuous playfulness, the relishing of loveliness. And then intellectual play only, creation of “organised structures”. Perhaps, aiming at rationality… And the place of action, quite metaphysical space…2 The music of Tüür is on the one hand quite understandable, but there are also elements confronting each other and their interrelation cannot be understood without further exploration. 3 Tüür has declared his creative pursuit: “With full consciousness I employ in one and the same composition series very
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