This is Paul Creston's most famous symphony, and rightfully so since it expresses his views on music in the most clear and striking fashion. He composed it in 1944. At that time, Creston wrote that song and dance are the two foundations of all music, and that this symphony was conceived as an apotheosis of both. Consequently, the work comprises two movements: 1) Introduction and Song, and 2) Interlude and Dance.

The whole of the work is based on two themes heard at the beginning of the Introduction. The first theme is presented by the cellos and the second by the violas, and both are of a similar character. Without break, the song begins with a flute playing a variation of the first theme over piano arpeggios. The theme is then taken up by the horns, and later the oboe. Next the strings are the dominant force in an impassioned homophonic passage. When the intensity subsides, the flute and later the oboe take turns with a thematic variation. A brief orchestral passage precedes a solo horn's version of the theme, followed by a majestic orchestral version that grows to a climax. The oboe closes the movement repeating the theme as originally played by the flute, and the music fades quietly.

The second movement opens with a violent, almost unrecognizable version of the first theme ending in a dynamic swell. This is repeated as an echo at a lower pitch and intensity. The aggressive passage recurs slightly changed. A series of orchestral blows slow the movement down and the intensity subsides, creating a sense of expectation. Now a solo flute begins the Dance. A muted trumpet replies with another variation of the theme. Other voices alternate while the intensity mounts until the whole orchestra seems to turn into a percussion instrument, initiating a powerful, rhythmic fortissimo. A sudden decrease in dynamics does not alter the rhythmic motion, but it does recede to the background as a trumpet intones a syncopated version of the first theme. The rhythm continues unabated while other instruments effect several thematic metamorphoses. The intensity builds to a climax. Rhythmic motion stops after a last chord which fades, leaving only a trill in the background. Now the lower strings bring back the Introduction material. A brief pause is broken by the successive entrance of three different and contrasting rhythmic patterns which are combined simultaneously while the violins play the initial flute theme heard in the song. The intensity then builds to a bold climax just before the end.

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