ESTONIAN SYMPHONIC MUSIC. THE FIRST CENTURY 1896-1996.
us call it the theme of Caesar:
Example 3.
The next subsidiary theme is mournful and restless. As a formal novelty the
subsidiary theme is presented in a D major tonality (the main tonality being C minor),
characterised by the effect of a brightening colourful harmony and non-quadratic
structure:
Example 4.
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
annaabi.ee 
