The title Passing Parade refers to the rhapsodic compositional approach that I employ, which is probably as close to the symphony as one can legitimately come in this day and age without excessively parodying and plagiarizing the old masters—the formal strategy of the so-called "exposition" is maintained throughout, while the idea of "development and recapitulation" is discarded. The result is a continuous, ongoing exposition in which (like minimalism, but in opposite fashion) little or no demand is made upon auditory recall—a "passing parade" of themes and other materials whose relationship to one another is immediately and naively apparent.
Setting: Flute, Piccolo, Oboe, English Horn, Clarinet, Bass Clarinet, Bassoon, Contrabassoon, Trumpet, Piccolo Trumpet, Horn, Trombone, 4 Timpani, Violins I, II, Violas I, II, Cellos I, II, Basses I, II.
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