Stravinsky's official Op. 1, the Symphony composed between 1905 and 1907, looks back to the height of the Russian classical tradition. The presentation of the first subject in the opening "Allegro moderato" would probably fool all but the most intent of listeners into labeling the work as early Tchaikovsky, or perhaps Glazunov, while the shade of Wagner hovers faintly over the orchestration of certain passages. The first subject is vaguely heroic in character, brief and assertive, and so thoroughly developed that the attractively lyrical second subject appears as little more than passing interludes. The orchestration is, in general, as classic in inspiration as the melodic invention, although some of the transitions reveal that the piece dates from later than first impressions suggest, and the treatment given to the first subject to mark the beginning of the coda is curious, a skittishly syncopated variation, which sits a little awkwardly alongside the rest, but is more obviously "Stravinskian" in nature.

The Scherzo is a bright and bustling movement, with one of the folk tunes to which Stravinsky was to return to so frequently appearing in the Trio section. Here, Stravinsky's teacher Rimsky-Korsakov exercises a very clear influence on the orchestration, particularly in the slow movement. Again, Tchaikovsky colors the whole movement, particularly the Tchaikovsky of the "Polish" Symphony (No.3), to whose wistfully noble third movement this one bears a strong resemblance. For all its obviousness, however, this Largo also recalls—or rather, looks forward to—Le baiser de la fée of 1928, Stravinsky's homage to Tchaikovsky. There is an indefinable yet distinct filtering effect here—Tchaikovsky seen through Stravinsky's eyes, so to speak. The hushed close of the movement evokes the mysterious opening of The Firebird.

After the unusual distortions of the third movement, the apparent return of an idea very similar to the late-Romantic assertiveness of the first movement's principal subject comes as something of a disappointment, until the listener becomes aware of the unevenness of the phrases, and the fact that the rhythmic pattern is more important than any of the fleeting melodies heard. The voice of experimentation, ever to speak through Stravinsky's work, can be heard, quietly but distinctly, behind this boisterous Finale.

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