Taking Beethoven’s four note “fate” motive from the first movement of his fifth symphony, composer Standridge has reimagined the symphony movement and taken it in remarkable new directions. At first following close to the original for a powerful and exciting introduction, the work then segues into a playful gigue in compound meter, followed by a lyrical section with the primary motive presented upside down in horns, much in the spirit of Beethoven’s original. The final section turns up the exc...