Symphony No. 5 (2005),
Symphony No. 5 is a large-scale work combining a typically Romantic melodic sweep with Classical counterpoint and the methodical thinking of the 20th century's serialists. The first movement draws on a wealth of melodic material, including six distinct themes, to weave a sonata-form tapestry that sets the tone for the entire work. The second movement is a scherzo with what I like to think of as faintly bluesy overtones. The third movement, marked quasi fantasia, combines cinematic line with mathematical form, and leads directly into the finale, whose driving perpetual motion finally culminates in what could be justifiably taken as the climax of the entire work.
The Symphony pays (sometimes direct) tribute to the works that share its numerical designation, including the fifth symphonies of Beethoven, Nielsen, and Prokofiev; there are also references to Brahms and Vaughan Williams in its primary motives, but all of its material is in fact original. It was written mainly in the fall of 2004, and orchestrated the following year; first to be composed was its final movement, followed by the first three, with the second movement's trio completed last.
I. Allegro molto (ca. 10')
II. Scherzo (ca. 6')
III. Largo, quasi fantasia (ca. 11')
IV. Finale (Ca. 6'30")