The initially frozen world begins to ‘warm up’ slowly at some point, the melodic line that evolves from yet another intervallic expansion starts to resemble archaic Estonian folk songs. Unlike the beginning of the first movement, this section is dominated by descending elements. The second movement begins with a complete standstill, while taking the developments of Y under even greater scrutiny. The third part returns to the motifs originating from X, but much more fiercely. This zooms in on the world represented by Y. The second part of the first movement is chamber-like music enriched with several intertwining solo passages. This so-called ‘expansion’ also becomes a key principle for the development of linear processes throughout the whole symphony. The interval range gradually expands, introducing the major second, then the minor third, major third, etc. The first part is fast, intense, and plays with shifts in various types of texture. The first movement, in turn, consists of three parts. Everything that ensues is an alternation of focus between X and Y. These two elements are similar in terms of intervals, but opposites in terms of character and rhythm, evolving into contrasting realms of sound. This is followed by a micro-polyphonic ‘sound cloud’, Y based on the same intervals, which is interrupted by the next ‘knocking’. The key motif (1-1-1) X, which forms the foundation for musical development throughout the composition, consists of three ascending minor second intervals with a ‘knocking’ rhythm. In other words, the initial dominating objective and detached observation gradually grows more subjective and, hopefully, more involved and passionate.Īs for musical form, the Eighth Symphony is divided into three movements, all of them performed attacca. One of the ideas guiding the internal psychological development logic of this symphony might be the creation of structure and then bringing it to life. Thus, I simply added it to the list of my symphonies without granting it a separate “chamber symphony” status. Indeed, there are several chamber-like passages, but the intense tectonic shifts between sound masses are equally important. Considering the instrumentation of the orchestra (double woodwinds, 2 trumpets, two French horns, one percussionist and strings) it almost seems like a chamber symphony.
I composed the Eighth Symphony at the suggestion of my good friend Olari Elts it was commissioned by the Scottish Chamber Orchestra.
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