ESTONIAN SYMPHONIC MUSIC. THE FIRST CENTURY 1896-1996.
In the final bars,
pure D7 of A minor sounds like a hopeful question. The beginning:
Example 67.
From the two components of the initial theme, both the chords which constitute
harmony and from the curves of harmony, Raid is further shaping variants in different
tonalities. The final bars with expiring contemplation create a certain connection with
the initial theme of the Finale in Raid’s First Symphony.
The fifth and last movement (Allegro moderato e risoluto) does not sound very
resolute or eager. In the march-like theme and in its further treatment one can detect
stylistic influences from Tubin (Fifth Symphony, first movement). In the last bars it
seems as if an attempt is being made to direct all the previous ruminations, hardships
and despair towards a positive solution (C sharp major), but the final chord does not
confirm this. Raid does not make use of the ‘classical’ principles of treatment in this
annaabi.ee 
