The Symphony No. 3 is neo-romantic/neo-classical and more extravert and fiery in comparison with the second one. It is scored for a normal sized symphonic orchestra. It consists of five movements. The 1st one is a moderately fast movement in sonata form (but without reprise), based on two very distinct themes (the first quiet, pastoral and flowing, the second a solemn choral in a modal mode). The development section starts around 3’40”. The 2nd one is a lively fugue in B-flat minor, largely in 5/4. The fugue is based upon two themes (a vigorous first one and a singing second one again in a modal mode). In the exposition of the first theme the second theme is already brought in as countersubject, and after a short stretto this second theme gets further elaborated. After 1’45” the development of the two themes begins, firstly the first on its own, then both simultaneously, and after 3’50” the two themes (the first theme reduced to just the notes without rhythm) are further developed and combined leading to a climax accentuated with a cymbals crash. The 3rd movement, in the same key, replaces the (in comparison with the other two symphonies) usual scherzo but is likewise constructed (ABA). Graciousness and kindness are all around here, as well as some beautiful solos, especially for the English Horn around 0’35”. The 4th movement is a slow and solemn choral, in D major. After 2’25” precious moments happen when the inversion of the main theme in the strings is combined with a derived flute solo. The 5th one (or finale) is an fiery up-tempo piece in sonata form, with a substantial role for the percussion. The development section starts around 2’15”, a short solemn coda concludes the symphony. Digital performance using Sibelius 6 and Garritan Personal Orchestra. Score moving videos are on my YouTube channel.