Symphony No. 1 is built on a chromatic melodic line. This melody first outlines larger intervals and gradually turns in on itself. The only complete statement of this structural line appears late in the second movement in the bass flute solo. Both movements are projections of the harmonic and linear implications of the primal line. Although the language is chromatic, the developmental procedures and architecture are well within the traditions of symphonic writing. The first movement is a ternary form. The opening gesture is crafted from intervallic subsets of the primal line. The ABA format is amplified by various transitional statements; first from the solo violin, and then from solo viola. The second movement employs an updated version of the ritornello principle. A three measure gesture that fluctuates in tempo serves as a unifying link between larger sections of contrasting character.