"Symphony, Mov. 1" genre: Contemporary
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	Tempo varies. Character varies--from heroic to absurd. Contains about four minutes of dodecaphonic music, but it's written so you probably won't be able to spot it. Instrumentation: Strings including basses, 1 piccolo, 1 flute, 2 oboes, 2 clarinets, 2 bassoons, 2 trumpets, 4 horns, 2 trombones, tympani, snare drum, and vibraphone.
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	Story Behind the Song The idea that the symphony is supposed to be dead has always made me want to write one, but the difficulty of getting a symphony competently performed prevented me from writing one for many years. Now that I can get a computer performance this good-better, certainly, than what you get from most student orchestras or in "gift performance" read-throughs-my reservations have disappeared. The New York Philharmonic would do it a lot better, but this will do nicely until then, and I'll undoubtedly write at least one more, and probably several if I live long enough. Until that day comes, though, this is not Symphony Number One, but just Symphony. Weird and perhaps interesting stuff: There's a short quotation in each of the last three movements. Movement 2 has a quote from Borodin, movement 3 one from Berg and movement 4 has a quote from Beethoven. If you don't spot them, don't let it worry you. The quotes are only included in the first place because they support my purpose, and they are, in their places, integral to what I'm doing. That ought to go without saying, but there's a fashion for obtrusive quotes, so I'm saying it. All of the movements are connected motivically and by other sorts of cross-referencing, the most peculiar of which occurs in the third movement. This movement also makes use of material from my earlier life as a composer. Not everything I wrote back then was bad. Nearly all my scores from those days were lost in a flood, but I discovered this material on an old tape.

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