ESTONIAN SYMPHONIC MUSIC. THE FIRST CENTURY 1896-1996.
A more precise
image of the leading theme is offered at mark I (Violin solo). It will remain virtually
unchanged:
Example 197.
The development of the idea variable, more like “lace-making” than a vivid,
purposeful process. The rondo-like principle applied to the whole is diluting the
possibilities for a grand culmination, which always needs time and space.
The primary feeling of sorrow ends as a large plaintive song. The leading theme
restrains the composer and in an inserted episode he attempts to step it aside. Yet the
theme rises inevitably again. A section from the middle of the work:
Example 198.
The initial idea with its spirit and taste seems to be exceptional in Estonian
symphonic music. The creative thinking of Põldmäe is specifically instrumental and
there is a lack of extensive breath, of a wide singing line that should be found. All
appears fragile, an example from the end section:
annaabi.ee 
