Donald Tovey describes the “vision of dry bones” in this symphony’s finale, which he analyzes in terms of “a Bass, a Tune, and a Fugue.” In the seventh bar of this symphony, violins enter with syncopated G’s floating above a sustained C-sharp in the cellos resolving up to D. A piece [emphasize] inspired by this one that uses hubcaps and brake drums as found percussion was written by Tán Dùn as (10[1])an (10[1])“Internet (10[6])Symphony.” At a (10[1]-5[2])rehearsal for this (10[1])symphony, Ferdinand Ries (“reese”) mistakenly berated (10[1])a horn (10[1])player for starting the first (10[1]-5[1])movement recapitulation early. Two (-5[1])isolated E-flat major chords open this (10[3])symphony, whose second movement is an unusually long funeral (10[4]-5[1])march. For 10 points, name (10[1])this (10[1])early (-5[1])Romantic (-5[1])symphony that bears a retracted (10[1])dedication to (10[8])Napoleon. (10[23]0[2])■END■