I think that’s his strongest piece. It’s the reality of the sorrow, the reality of the longing. The symphony opens with that solo plaintive English horn sound. It’s the perfect instrument to start this piece, and, then, in the last movement, there’s this aspirational, lovely song that the entire orchestra plays, and, then, he puts it in the voice of a cello, which, in my mind, is the closest instrument in that orchestra that sounds like a human voice. And then, all of a sudden, he flips the switch, and there’s a driving energy that takes us to the end of that piece as if to say this can be the possibility if you aspire to it.