repeat of the exposition in the first movement. The 2016 Previn / LSO CD is one of the abridged versions still available (9026-60791-2). Music Scoring The symphony is scored for full orchestra with 3 flutes (3rd doubling piccolo), 3 oboes (3rd doubling cor anglais), 2 clarinets in A and B, bass clarinet in A and B, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, snare drum, bass drum, cymbals, glockenspiel, and strings. Movements The symphony is in four movements: First movement The first movement begins with a slow, dark introduction, in which the 'motto' theme of the symphony is introduced and developed. This leads to an impassioned climax, after which a cor anglais solo leads the movement into the allegro in sonata form, consisting of the first subject derived from the 'motto' and second subject. Assuming the symphony is performed uncut, this also includes a full repeat of the exposition. In contrast to the exposition, the development is stormy at times and moves through multiple key centres. Only the central motto theme and first subject are used in the development. After a long dominant pedal, the recapitulation begins with the first subject stated secondarily to the building up of a climax, which has been well underway throughout the development. After the climax, the second subject is stated in E major. The coda in E minor resumes the style and tempo of the development as it builds up intensely and the movement culminates in two fortissimo outbursts. Second movement This movement really only resembles a scherzo insofar as it relates to the early- to mid-Romantic tradition of symphonic movements, and its use of a typical scherzo form (ABACABA). However, it is in 2/2, while the typical scherzo would be in 3/4 or some kind of triple meter. The movement, in A minor, opens with a lively ostinato in the upper strings. As a fixture in large-scale works by Rachmaninoff, the Dies Irae plainchant is referenced, here in the opening bars by the horns. The B section is a lyrical cantabile melody in C major. The music slows down and the opening ostinato is referenced, and in returning to the A section it abruptly speeds back up to its opening tempo. The central trio section notably begins with a sudden, tutti, fortissimo B Dominant 7th chord, and is an example of Rachmaninoff's mastery of counterpoint and fugal writing, thanks to