The parapet must have been covered by some kind of a roof but the middle part of the floor was uncovered to get the mortars and catapults in place better. Compared to the other Tallinn towers Kiek in de Kök was predominant in its fire power, due to its 27 embrasures for cannons and 30 for handguns. The ground floor was a storage floor and there was also the initial entrance. This floor had a narrow light and airshaft and no embrasures. Throughout its working life, the tower was extensively remodelled. Work in the 16th and 17th centuries saw the two lowest floors become hidden by earth works and the upper floors receive new gun openings and the uppermost floor a new outer wall and ceiling.
In 1410, the construction was completed. Same year the Great Guild moved into the building. The facade was designed in a style characteristic of gothic Tallinn. The 16th century witnessed the addition of a gable tower with wind vane, as well as a light latern above the main portal. In 1551, the excise chamber was built at the end of Börsi passage facing Pikk street. The Great Guild Hall The wind vane and coat of arms In the 19th century, the Guild Hall's windows were remodelled in the neo-gothic style and the interior of the building was renovated. It was decorated with prominent neo-gothic doors. Originally the house consisted of two spacious halls. The grand hall was the largest hall in Tallinn used for secular purposes. The Great Guild Hall became one of the most important concert and exhibition venues in town. In the 18th century, the Great Guild began to rent out its facilities for public events
syncopation: Example 9. The subsidiary theme is also in a minor key and played as if in one exhalation of breath, this is a wide “vocalisation” (Flute, Clarinet and Violins): like the plaintive song of a lost soul: Example 10. In the slightly extended development section all the thematic material has been remarkably transformed. The music of Kapp, in accordance with his nature, is intrinsically dynamic. The introductory theme is remodelled at the end, in a powerful imperative movement. The influences of Beethoven and Tchaikovsky may be detected. The score is compact though not overloaded. Quick changes dart throughout the piece, the composer illustrates the inner contradictions, pain, hopes and poetry of the hero, 1 Inspired by Friedrich Schiller’s tragedy. 2 The city lies on the Volga River, near the Caspian Sea. 3 Pavlovsk is a town 30km outside St. Petersburg. The performance was in the summer of 1901,
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