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No major work of mine has given me more frustration that my Symphony No. 5. I had always sensed that the materials were strong and worthy, but the orchestration and structure of the work never satisfied me. Originally composed for the Reston (VA) Symphony Orchestra in 2010, it has undergone two major revisions in the years hence. A major revision, then a second performance by the Northwest Symphony of Skokie, Illinois proved once again unsatisfactory. At this point, I lost confidence in the piece. That is, until my wife Susan, gave a listen to it while driving to work one day. She encouraged me to give the symphony a new look. Thankfully, I took her advice. 
 
I spent the summer of 2021 giving the work a complete overhaul. While taking on the revisions, I reminded myself of the strength of the musicians in our Panama City Symphony. They became my inspiration. As I continued work through its four movements, I began to realize I was creating a work akin to a concerto for orchestra, rather than a true symphony.
 
The first movement proved to be the greatest challenge. Out of the original first movement, I kept a grand total of seven measures out of its over two-hundred measures. The symphony begins with a brief full orchestra flourish. Immediately,  a moderately-paced short thematic motive is given to the strings, interspersed with woodwind colors. A second theme is introduced alternating between violin and French horn. These two themes build through a series of peaks and valleys proceeding to a sustained full orchestral interchange. A series of long woodwind solos then gives way to the climactic peak, resolving to a quiet resolution ending with the oboe.
 
While the first movement never becomes heavy or pompous, the second movement  provides quite relief. Conceived as is a lighthearted scherzo, the woodwinds and strings carry the load initially. Then the brass impetuously break forth. The trombones in particular press forth with a hemiola inspired theme. After the midpoint, the harp provides relief along with the woodwinds, followed by a return of earlier themes.
 
The third movement is a soulful series of short aria-like themes played by the strings and woodwinds. Short “tunelets” are cast among the orchestra which undergo continuous modulations. At the center the percussion section takes over. In the spirit of a concerto for orchestra, the percussion section, too, gets an opportunity to be heard for all its sonorous variety. 
 
The finale movement is a wild flight to the finish. Composed mostly of one hectic, highly rhythmic and syncopated theme, this movement assumes the heavy weight of the entire symphony. Every instrument and each family of instruments gets a full workout. It ends with a rousing conclusion. I might add that my earlier frustrations have ended happily in true satisfaction with the final product.
 
My thanks and gratitude to John and Sue Adney for the treasured opportunity to write and rewrite my Symphony No. 5.

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