English composer William Boyce's Symphony No. 3 began life as the overture to his opera The Chaplet in 1749. Boyce later had it published within a group of Eight Symphonies in 1760. There is no question that this work is a child of the Baroque, or correctly, the heir apparent to George Frideric Handel (1685-1759), the most significant musical figure in England at this time. The symphony is in three movements, derived from the Italian opera overture, fast-slow-fast. During this period, the terms overture and symphony meant virtually the same thing. The wind instruments tend to play a supporting role, usually doubling the strings. Each movement expresses one mood or affection without real contrast in character. It begins with the dotted rhythm, also typical of the Italian opera overture, and dives headlong into a fugal section. The irregular phrases unfold through a series of harmonic sequences. The second movement, Vivace, starts in minor with the violins, viola, and bassoon in unison accompanied by bass and harpsichord underneath. Its extended binary form, AABABA, departs slightly from the standard two-part binary format, in which the A section is stated twice followed by B based on similar material, also stated twice: AABB. In this way it resembles the rondo form (ABACADA, etc.). The Tempo di Minuetto glides along gracefully in a lilting triple meter with a structural format akin to the second movement: AABABAA. Handel's melodic warmth and geniality are there without the drama. Boyce's sunny disposition and refinement did pave the way for the gallant style of Johann Christian Bach (1735-1782).

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