Symphony #6 is one of my most recent compositions. It was completed in 2009. Almost 30 minutes long, it is for large orchestra and is in three-part form. The second and the third movements are played attacca.
One layer of the first movement is a four-part form written in minimalist style. It bears four different 'signs of place' - exposition, development, climax and conclusion. There are numerous compositions on top of this layer. They are organized as 'counterpoint of logical structures". A good example of synchronous music.
The second movement is simply "counterpoint of logical structures" without the minimalistic layer which helped keep all pieces of the first movement more integrated.
The third movement is "counterpoint of logical structures" like the second movement except there is no musical structure here which repeats or develops. 'Signs of place' are intentionally mixed-up. The third movement starts with the "ending" sign of a fanfare and ends with the "development" sign of crescendo. Despite the fact that the symphony is gradually discarding traditional means to keep the musical material coherent, all three movements have strong forms. They just become more lofty. Symphony #6 is like a tree growing out of the earth, roots deep underground, branches reaching up to the sky.
