Symphony No. 1

"The symphony opens with a slow introduction that produces a great sense of anticipation that is released in the energetic movement that follows. The third movement—the centerpiece—is the longest, and after an eerie opening, becomes more hymnlike, with quotations from earlier religious music, including Gregorian Chant…before returning to its initial mysterious character…[T]his is a satisfying work with potentially broad appeal, demonstrating that there is still plenty meaningful to say within the symphonic genre." (excerpted from Walter Simmons' review in Fanfare Magazine)

"The symphony opens with a slow introduction that produces a great sense of anticipation that is released in the energetic movement that follows. The third movement—the centerpiece—is the longest, and after an eerie opening, becomes more hymnlike, with quotations from earlier religious music, including Gregorian Chant…before returning to its initial mysterious character…[T]his is a satisfying work with potentially broad appeal, demonstrating that there is still plenty meaningful to say within the symphonic genre." (excerpted from Walter Simmons' review in Fanfare Magazine)

"The symphony opens with a slow introduction that produces a great sense of anticipation that is released in the energetic movement that follows. The third movement—the centerpiece—is the longest, and after an eerie opening, becomes more hymnlike, with quotations from earlier religious music, including Gregorian Chant…before returning to its initial mysterious character…[T]his is a satisfying work with potentially broad appeal, demonstrating that there is still plenty meaningful to say within the symphonic genre." (excerpted from Walter Simmons' review in Fanfare Magazine)