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_{I have spent my life playing, teaching, arranging, composing and producing music starting with learning the accordion at age four.  Euphonium became my major instrument in college having started on baritone horn in the fifth grade.  I have been on the business side of music as well; owning, with my wife Lana, two publishing companies and a record label/artist management company.  Other than the summer after graduating from high school when I worked as a laborer in the open hearth of a steel mill, I have made my entire living doing what I love to do – music!} 

_{Typically, as one moves on in life, one has a bucket list.  I had only one item on my bucket list and it was to compose my first symphony.  I had composed several symphonic band pieces, arranged music for marching bands, jazz bands, orchestras, and choirs of all configurations and all levels; I’ve composed music for film and have orchestrated for several artists their complete repertoires for full orchestra; but other than one piece that I penned in 1981 for my high school orchestra, until this symphony, I had not composed an original piece for orchestra.  Composing this symphony then, I view, as a culmination of a lifetime of many, and quite varied, musical experiences.}

 _{In 2015 I set out to satisfy my bucket list item.  However, as so often is the case, life got in the way.  I have sketched many themes since then but only one would become relevant to this piece of music.} 

 _{In March 2020, my life, like everyone else’s, changed dramatically with the appearance of the Corona Virus.}

 _{I realized I hadn’t had a schedule like this since I was a child.  No performances, no tours, no traveling, no teaching, no social life.  So, around April 1st, with the good graces and support of my wife, I headed to my studio to compose my symphony.  Within days, I felt like I was on a freight train with no brakes.  I found it difficult to leave the space and did so only to eat (I would never miss a meal since food is my second passion and my wife Lana is a great ‘Tuscan’ cook!) and to sleep.  I spent twelve to fifteen hours each day composing, orchestrating and recording my piece with the help of two great libraries of electronic orchestral sampled sounds.  By the end of the first week of June, I had completed the composition and recording.  I then set out to edit the printed score, which took the next several months.  With the help of my editor, Paul Silver, a highly experienced professional orchestral musician, we put the finishing touches on the score and parts.}