The work is in three movements. In the two outer ones the constant metamorphosis of material reflects classical procedures. The middle movement in contrast contains no development and is lyrical from beginning to end.
(i) The first movement adheres roughly to sonata form, albeit much condensed. Some of the material is of a fragmentary character, but there is one rather more expansive themes which after being turned upside down, initiates the process of uncoiling the material in approximately the reverse order in which it first appeared.
(ii) The second movement, marked Molto Adagio, opens and closes with a tonally ambiguous dialogue between trombones and cornets, the former moving harmonically, the latter in a single line. Between this miniature prologue and epilogue lies the movement proper, restrained in character and containing no large emotional climaxes, but having continuously unfolding melodic line, which most instruments share at some point. The tonal ambiguity remains unresolved right to the end of the movement.
(iii) The main theme, stated after a long introduction, is pentatonic in character at its first appearance, its opening providing material for most of the movement. The theme occurs four times, each repetition changing its outline and taking it a little higher in pitch. A second theme, or motif, is purely rhythmic and becomes ever more incisive and intense as the movement progresses. The third theme is a broad unison melody played by the whole band. The form is akin to that of the classical Rondo.
This performance is by the Yorkshire Building Society Band, taken from the All England Masters contest in 2000 where the Band were awarded first place.
