ESTONIAN SYMPHONIC MUSIC. THE FIRST CENTURY 1896-1996.
The national element is expressed through diatonic gamuts,
incidental themes and in varying rhythms. While nature can be regarded as the main
source of inspiration, grave philosophical mediation is not in the realm of Eller’s music,
though with some exceptions in his last works.
The symphonism of Eller exhibited a trend towards greater dramatic expression
in the Second Symphony, 1947 (unfinished) and Third Symphony, 1961. The moods of
unsteady dejection, minor uneasiness and elegiac wistfulness are clearly felt, especially
in the latter.1 Eller is focusing his concentrated attention on his inner world, reflecting
other realities at the same time. Such a deepened psychological angle of vision is new
to him. Thought the last bars of the Third Symphony are leading to some clarification, it
is too short and does carry enough optimistic weight. The refreshing and vitalising
forces of nature have been abandoned.
annaabi.ee 
