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While I wouldn't say that my Second Symphony actually wrote itself, it is very much a work that revealed itself to me through the act of composing.  This probably has something to do with the fact that, unlike many other musical forms, a big part of writing a symphony is figuring out for one's self just what exactly a symphony is.  Add to the mix a generous commission and a looming premiere date and the question becomes very nonrhetorical.

My approach to writing music not driven by a sung text or underlying dramatic scenario could best be described as "architectural."  On the most basic level, the three movements of this work represent three different ways of fashioning  large musical arches out of straightforward, unaffectedly American-sounding thematic ideas.  The themes (all made up by me) evoke hymn-tune harmonies, "darn fool ditties," folk ballads and TV show themes of the 50s and 60s.  These "raw materials" are used to support the weight of a twenty-five minute span of music the way steel cables and stone pilings support the weight of a bridge.

Ultimately (and perhaps a bit Romantically), I like to think that the aim of my Second Symphony is essentially classical--the fashioning of a musical edifice that imbues a broad range of expression with a feeling of overarching cohesion.  Hopefully, the cumulative effect of all my "constructing" will come across to the listener as organic and emotionally resonant rather than artificial or mechanical.

In the words of Stanley Kubrick, "Figuring out what you want to say is easy, the hard part is hiding it."  I'll consider myself successful if listeners find the above, if not enlightening, at least interesting, without necessarily being noticeable.  --Tom Myron

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"...The ACO [Atlantic Classical Orchestra] loved this music--as who wouldn't? It is Aaron Copland redux, in the intervals, the harmonies, the spaciousness of the writing. Similarities to specific pieces abounded, but Myron wove his ideas and inspirations into a very listenable, approachable piece of new music that should win frequent performances..." --Joan Mank, Press Journal

"...The first movement, marked 'Graceful, Poised,' was eloquent and gentle. The brass section opened with a beautiful harmonic melody led by the trumpet. Eventually, the string entered with gorgeous, full-throated chordal movement. Picking up on the string, the winds when carried the message of peace and tranquillity. He moved the melody around, with all of its lush harmonies, from section to section until he brought them all together for a final, sudden close.
 
The melodies, including a takeoff on "Camptown Races," were very folkish in nature. There was a felling of Aaron Copeland or Ferde Grofe, only on a smaller scale. Later in the third movement, marked "Vivid, Flying," on could hear the influence of jazz, especially that of George Gershwin.
 
The second movement opened with a cello solo...over a bass drone. Then the violas picked up the dreamy melody with the string filling in. The timpani...played a major role in this movement, and its is about the only place in the entire work where the musical progression was predictable.
 
The third movement really flew, as it was marked, providing a real test for the string players and not exactly and easy time for the rest of the orchestra....There was a slow section and a very nice Viennese touch in the middle of the movement...
 
If I were going to write a modern piece for orchestra, this is how it would sound...It was very listenable and very pleasing. It was melodic with vivid chordal harmonies. it was also challenging enough to make you want to hear it again...A work like this deserves a second hearing..." -- John Sayers

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