ESTONIAN SYMPHONIC MUSIC. THE FIRST CENTURY 1896-1996.
Example 88.
The constructive thinking has obtained a sharp expressiveness: the rhythmic-
motivic ”block” in the Allegro movements excludes coherent symphonic development.
In principle one cannot have anything against constructions, as they can be met
everywhere in music but the question always arises: which creative thought has been
expressed through them? As the worn-out images are thrown off, an impression of
tacking-together arises. It is possible to create a placard-like expression in this way.
These sections do not lead to a synthesising outcome. The paradoxical result is that the
creative thinking of the composer seems to be unlimited but, nevertheless, this freedom
does not release his frame of mind from being insular.
Harmony is by no means a regulator or directing factor. Having invented some
satisfying sound-complexes, Rääts would use them extensively. Thus a block-system
emerges
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