Update Title: 319004D1-D6B8-4C04-928D-5805DCA66A52

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I call this work a "fond and somewhat sentimental homage to past musical glories", and it is actually an overture in 3 parts (in accordance with the original meaning of the term Sinfonia) and not a symphony.

As in most Sinfonias of the High Baroque, the work is cast in a basic Fast-Slow-Fast pattern.  I have then "crossbred" the Sinfonia with the 3 movement Minuet Finale Symphony (ie. Haydn's #'s 18, 26, and 30) to produce a Fast-Slow-Fast structure which incorporates a Minuet into the final Fast section.

The Minuet, however, is gradually "discovered" as it were, assembled, and then finally revealed during the course of the work.

There is actually very little different thematic material used in the piece; the bulk of the themes derive from the opening interval (f#-g#) heard at the very outset.

The opening Allegro is of a fleet, airy, joyous nature.

The middle (Slow) section of the work [reh.14, etc.] is based upon an inversion of the main (Fast) theme.  It is during this slow section that we first hear the Minuet theme being created and partially presented.  After being announced by miniature fanfares in the flutes and muted trumpets, we hear an austere, stately, yet gentle "fairy tale" version of the Minuet [reh.22].  At this point the opening Fast section suddenly begins anew.

However, the recap of the opening is now throughly permeated with the long-lined, elegant strains of the Minuet theme, which ultimately take over.  At first, it is unfocussed and arhythmic but, with a sudden crash of cymbals,     Chinese cymbals, and tam-tams, the Minuet abruptly shifts into focus, having finally emerged in its complete and finished form [reh.29].  NB [The first part of the Minuet theme is a variant of the opening (Fast) theme of the work; the second part of the Minuet is a variant of the inverted (Slow) version of the same theme].

Upon reaching its climactic conclusion, the music suddenly shifts back to the opening fleet tempo, [reh.32], and hurtles into its brief coda.  The 4 off-stage horns echo the final phrase of the Minuet, and, amidst tolling bells, the work peacefully comes to an end.  --Lawrence Rapchak

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