Musical fairy tale based on Anthony Armstrongs 'The Prince who hiccupped'

II. Tempus Fugit from Symphony No.1, Op.34 "The Art of Eclecticism" (An example of "Eclectic Modulation") Conductor Frederick Fennell's comments: "One of the interesting things about music is the constantly different way in which young men and women look at it. It is a marvelous kaledidoscope to everybody who touches it. To some people it is, of course a simple tunnel view of what they already know and what they very much enjoy. For others, it is a microscopic view of the moment. For yet others, it is a marvelously telescopic view of great distant visions. Andrew Gelt has a particular view of music as a very eclectic art. And perhaps it could be that his view of eclecticism is an extremely and unabashedly honest one. The four movements outline something of what you might hear, but don't be the slightest bit surprised at what you do." —1978 "[His] Symphony No. 1 is one of the most comprehensive examples of eclectic process in composition with which I am familiar." Clifford Taylor, 1979

III. Rondo Grande from Symphony No.1, Op.34 "The Art of Eclecticism" (Sound Mass as the refrain...) Conductor Frederick Fennell's comments: "One of the interesting things about music is the constantly different way in which young men and women look at it. It is a marvelous kaledidoscope to everybody who touches it. To some people it is, of course a simple tunnel view of what they already know and what they very much enjoy. For others, it is a microscopic view of the moment. For yet others, it is a marvelously telescopic view of great distant visions. Andrew Gelt has a particular view of music as a very eclectic art. And perhaps it could be that his view of eclecticism is an extremely and unabashedly honest one. The four movements outline something of what you might hear, but don't be the slightest bit surprised at what you do." —1978 "[His] Symphony No. 1 is one of the most comprehensive examples of eclectic process in composition with which I am familiar." Clifford Taylor, 1979

The composition is entitled Tempus Fugit Op. 34a when the second movement from Symphony No.1, Op.34 "The Art of Eclecticism" is performed separately and perhaps at a slightly slower tempo. It is an example of what the composer refers to as "Eclectic Modulation," and has been described as "the entire history of Western music in less than seven minutes." First performed separately by the Orchestra Society of Philadelphia with members of the Philadelphia Orchestra, Robert Fitzpatrick, conducting, 22 Feb 1981. Score and parts are available for rental free-of-charge from the Edwin A. Fleisher Collection of Orchestral Music, the Free Library of Philadelphia.