ESTONIAN SYMPHONIC MUSIC. THE FIRST CENTURY 1896-1996.
The fourth generation: the most outstanding representatives are the above-mentioned plus Kuldar Sink.
It seems reasonable to proceed from a twenty-year cycle as it is the shortest interval of time after which
young artists start their creative work.
There were enough novel means (constructivism, dodecaphony, aleatoric
elements, cluster-harmony, Klangfarbenmelodie, thematic heterophony and orchestral
sonorities). The younger generation were in a hurry to use them; many of them had
studied at the Conservatoire under the representatives of the third generation (Tamberg,
Rääts). The classical heritage (Western European, Russian and Estonian) seemed too
“academic” and made little sense for them.
The fourth generation adopted the governing creative atmosphere and all that it
comprised, especially the spirit for search and experimentation, sagacious ear of sound,
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