The first section is thoroughly through-composed: nothing repeats, there is no regularity to the rhythms. Only after I wrote it did I notice that it constituted a kind of fantasia on the themes of repetition and non-repetition. I made up my own three-part form for this movement. There is a little Bach in there, a little Vivaldi, a little Beatles, not to forget a chord change stolen from Dolly Parton. This is the only movement of Symphony #2 that is in sonata form. 95% of it is Allegro, so I don’t think the omission all that grievous.

Technically, the introduction is in an Allegretto tempo, which then revs up into Allegro at the entrance of Theme I, and so I should have labeled the movement “Allegretto-Allegro.” But I didn’t. I actually think of this album as rock ‘n’ roll for orchestra using classical conventions. Their sensibilities and backgrounds are too different from mine. But no Classical composer would write exactly this way. To a cursory listening, the music of this album no doubt will sound classically Classical, or perhaps a little early Romantic. Such an objective one might call radical, I would submit, because, in a time when all rules are broken, the only rule left to break is the rule against rules. In other words, I tried nothing more ambitious than to write singing, singable melodies, rich harmonies, and driving rhythms.

As opposed to something theoretical, au courant, over-intellectualized. My plan was, and is, to write Popular Classical Music for Everyday People-the kind of music that audiences actually go to classical concerts to hear, rather than what cultural arbiters say is cool (and really isn’t)-something radical, so to speak, a regular, tonal, accessible, common-practice piece of Classical music. But I think it would have been an entirely different work had I composed it on the piano. Which is a strange and awkward way of going about it. I wrote it entirely on the computer on my Finale orchestration program, without recourse to an instrument. And so, some parts are simple, some not so much. But I was having so much fun I got carried away.

I originally set out to write something very simple for amateur orchestras- Symphony #2 is mostly in the keys of C and G it doesn’t modulate much it is in four parts and only four parts, no divisi sections. Symphony #2 by Theodore Irvin Silar on Amazon Music –

Sex Quests by Theodore Irvin Silar