Most of Rautavaara's works have been recorded with his Symphony No. 7 been performed too. His works hint Modernism as well Romanticism and even show Constructivism and Mysticism. He can be well said to be a mediator in the creative process. In regard to the absence of history as Post-Modernist and being a Romantic he himself commented, "A Romantic has no coordinates. In time, he is yesterday or tomorrow, never today. In space, he is over there or over yonder, never here."
He also demonstrated an extended approach in his Neo-Classical period. Among his early piano works, "Kolme symmetrist preludia (Three Symmetrical Preludes, 1949) was Constructivist; "Pelimannit" (Fiddlers, 1952) was folklorish; and "Ikonit" (Icons, 1955) stemmed from Orthodox mysticism."
Rautavaara has marked the field in various musical ensembles as orchestral music, works for string orchestra, solo instrumental works, chamber music and vocal music. He writes extremely melodious tunes with depth and without being artificial which is surly a great achievement in present music scenario.
Einojuhani Rautavaara's works are clear influences of the most complex human emotions. The main characters are always tangled within their hopes and fears, memories and hallucinations etc. The characters are the inspirations of the actual people from history but the operas are not the mere depiction of real historical events. He has well experimented with his characters for example the title characters in "'Thomas', "Vincent" and "Aleksis Kivi", the title characters are exceptional (one might almost say deviant) individuals; in "Auringon talo", the main characters are misfits on the fringe of society..."
"..misfits on the fringe of society." Fimic.fi. Einojuhani Rautavaara: A composer of Many Personas.
In his works it has been seen that the layers of time form Czars to contemporary, from Romantic to Neo-Classical keep intermingling without any specific relevance but the memory plays vital role in Proustian manner. His first award winning work "A Requiem in Our Time" had clear influences of Nordic classicism of Sibelius and Nielsen as well as that of Bartok, Shostakovich and folk music.
In his early career he experimented with serial technique but those didn't come out to be real series. He tried to work upon it in his Symphony No. 3 but it seemed more like Anton Bruckner than the traditional serialists as Pierre Boulez. His later works reflect mystical element having referencing to angels - a menacing figure than being cherubic for him. "A characteristic 'Rautavaara sound' might be a rhapsodic string theme of austere beauty, with whirling flute lines, gently dissonant bells, and perhaps the suggestion of a pastoral horn."
......... suggestion of a pastoral horn." Classicalcat.net. Classical Cat- The Free Classical Catalogue.
Rautavaara has been greatly fascinated by metaphysical subjects. It is not any doctrine which held his belief in this nut the words of a German