This 1949 work is in three large-scale movements totaling about 40 minutes. As is usually the case with Arnold, the formal outlines of the work are clear, the melodic material is attractive and easily within the grasp of an average audience, and there is considerable emotional contrast in the music. The first movement is strong and rhythmic, with much excellent bold writing for the brass. The second movement is mostly calm, but, typically, Arnold disturbs things with ferocious passages for brass. The final movement begins as a fugue, with stabbing chords, then turns into an almost ghoulish military march. The symphony ends in a pretty traditional grand finale. Although British music commentators soon fell under the spell of twelve-tone theory and felt that symphonies like this were outdated, it was clear that Arnold possessed compelling mastery of technique and material, and was therefore a true symphonist. Noted for his versatility and approachable style, Arnold has been popular with the public and fellow musicians, but not always with the critics. This is among the most important debut symphonies of the twentieth century, and not in the least immature.

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