ESTONIAN SYMPHONIC MUSIC. THE FIRST CENTURY 1896-1996.
Tempos are not given; at the
performance, it is more important to follow the flow of music by seconds.
The first movement is Conglomerations. This indicates the combining of sound
lines and as a result all of the “sounding space” is filled. Aleatory forms and indefinable
sound heights have been used:
Example 157.
The second movement is Groups. Juxtapositions and the adding of several
groups of instruments are dominant. The music starts with “stereophonic” sound
effects:
1
Kaheksa eesti tänase muusika loojat (Eight Creators of Estonian Modern Music) (Tallinn: Eesti Raamat,
1979) p. 170.
Example 158.
There is no obvious line of development. The groupings remain without any
inner connection. This method is reminiscent of the chamber works of Boulez and
Stockhausen: many aleatory and moving clusters.
The third movement, Expressions, is based on Pointillistic technique and
moving sound-images:
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