ESTONIAN SYMPHONIC MUSIC. THE FIRST CENTURY 1896-1996.
This hero is
identical to his own character: with a contemporary view of life, optimistic and moderate
though sometimes somewhat protesting, courageous and with a wide range of ideas and
emotions, a personality who has sense for the serious, as well as the pleasing and poetic. 1
At the end of the sixties, the output of Ester Mägi (b.1922), widely considered
as the First Lady of Estonian Music, was revitalised. Ester Mägi studied composition
(1946-1951) with Mart Saar, who had notably influenced all of his few students,
drawing their aspirations from national expression. The earlier works are marked by a
common national-romantic musical language and classical manner of thinking. Her
Piano Concerto (1953) is based on classical form and folklore materials. It is a
promising post-graduate work, where a lyrical mood stands beside cheerfulness. The
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