This 1939 composition is one of the most convincing classical attempts to create a jazz spirit. It succeeds in doing so without the presence of any jazz players or use of improvisation. Nevertheless, jazz devices of coloration are used, such as wire brushes on drums, glissandi and lip slurs, and chord voicings that are common to jazz arrangements of the time. In addition, the themes (and their scales and harmonies) are jazz- and blues- derived. So successful was Gould in devising "jazz" themes for this symphonette that the second movement, "Pavane" has been widely quoted in actual jazz performances by such masters as John Coltrane, Dizzy Gillespie, and David Baker. The outer two movements of this three-movement piece are marked "Moderately fast" and "Very fast—Racy," respectively. Incidentally, you have heard and are quite familiar with the theme of the Pavane, whether you know it or not. Outstanding listening. Gould is notable for creating excellent music, perfectly crafted, seemingly almost commercial in intent and yet, when really listened to, revealing unusual breadth. I always conclude listening to this piece believing that it is a true masterpiece without even trying to be. Wonderfully ingratiating music.

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