bearings relatively difficult. Because the composer uses so many disruptive techniques in both rhythm and harmony, there is often no clear sense of metre or key. Structurally, the movement falls loosely into the category of sonata form with its carefully organised contrasting themes and key centres, though this may not be apparent on first hearing. Indeed, the most striking point of contrast may be the reappearance near the end of the movement of one of the main themes in a clear and rich E major. The first movement ends with a sustained unison E in the low instruments, at which point the second movement begins. Moderato The second movement starts a tritone away, in B-flat minor. The main themes are so chromatic that they eventually have little sense of profile. A central feature of this movement is a "rat-a-tat" rhythmic motive that recurs through most of the movement, beginning in the second measure. At one point that figure goes away for a while, and the effect of its eventual return is an almost palpable sense of dread. After an enormous battering climax fuelled by that figure (including the single loudest point in the entire symphony), the movement winds down with a lengthy solo played by the cor anglais, still accompanied by the same three-note ostinato. The sustained last note links via a half-step drop to the next movement. Scherzo: Allegro vivace This movement, heavily fugal in texture, follows a typical scherzo/trio structure, but the overall feel is hardly one of amusement; the high spirits are decidedly raucous and sardonic. Although the rhythmic style is less disjointed than in the first movement (the listener has little trouble following the meter here), the harmony (heavily dominated by tritones, or lowered fifths) and orchestration both revert to the first movement's density. The trio section features the tenor saxophone's only true solo role in the symphony; when the scherzo material recurs the composer inverts the fugue subject and eventually combines that form with the original version. With the final climax (the trio theme stated by full orchestra) the music almost collapses, leaving the bass clarinet holding the sustained note that links to the Finale. Epilogue: Moderato This movement follows a vaguely fugal structure, but that structure is not especially perceptible to the listener because the entire movement is marked pp, meaning played very softly (and at one point senza crescendo, an instruction not to