ESTONIAN SYMPHONIC MUSIC. THE FIRST CENTURY 1896-1996.
The thought may soar in free
fanciful visions while tied to the firmly anchored theme. The work is, strictly speaking,
multi-imaged, the scanty thematic material being in no sense decisive. Eller is striving
for figurativeness and sensitivity. Not one of the musical lines in his score has a
finished, completed shape: the yarn, once interrupted in one line, will proceed in
another. The critics did not find the work satisfactory in all respects, reproaching it
being over burdened details.
The next tone poem Viirastused (Ghosts, 1924), follows this fantastic line in a
more refined manner. The work was the most novel in the whole symphonic output of
the Twenties, including an expressionistic feeling not typical of Eller. It may be called
“symphonic visions” since a vision has no clear-cut phenomenon. Thus the main
attention has been devoted to joining improvisational images to the principle of
contrast
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