This symphony is unusual in several respects: it features catchy, pop-oriented themes; its scoring requires an exotic array of percussion instruments, including tom-toms, bongos, and marimbaphones; and it has a genuine sense of humor, an element often missing from large orchestral scores from the latter half of the twentieth century. Moreover, it is quite accessible for the listener throughout all of its 40-minute or so length.

The first movement, marked Allegro-Poco più mosso-Tempo primo, opens with ascending and descending scales played in opposite motion, making up an important element here and later in the symphony. The main theme is a leisurely, simple, somewhat Stravinskyian creation of neo-Classical character. A second theme, lively and pop-like, is played to exotic, jazzy accompaniment. The central part of the movement features imaginative thematic development and much conflict, with passages of rhythmic, jabbing brass and insistent, pounding drums. There follows a reprise, but with considerable changes, and the movement quietly ends.

The ensuing Scherzo (Vivace ma no troppo) is largely subdued and lightly scored in its humorous, often playfully menacing music. Lasting about five minutes, it is reminiscent of the spirit, though not style, of the Scherzo of compatriot Vaughan Williams' war-era Symphony No. 5. The third movement, Andantino, exudes a rich sense of lyricism in its two themes, but exoticism surfaces again in the percussion writing. Tension accrues and the music works up to a powerful climax before returning to the generally serene mood dominating the movement.

The Rondo finale features a busy, playful fugal main theme and a slower, more sedate alternate one. The ascending/descending scale from the first movement also reappears here. After the themes are developed, a boisterous, somewhat Ivesian march seems to come out of nowhere to disrupt the proceedings. But the fugal theme returns to triumphantly close out the symphony.

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