Although Morawetz' first symphony is in three movements, the work has been both performed and published as separate movements, as well as being performed as one complete work.

The Fantasy is the first of the three symphonic movements written by Oskar Morawetz during the period 1952-53. Formally this work is quite close to the classical ideals of a sonata form. Nevertheless the treatment of the themes is much freer; the composer believes that a theme should never be repeated in the same manner as stated at its first appearance, but should each time appear in a new colour and different expression and should be subjected to a continuous development in the same manner as the action of a dramatic play.

The whole movement is based on six contrasting themes which are all stated in the exposition: a melancholic melody in the clarinet opens the composition; it is followed by two themes of rhythmic nature in the strings. Later we hear another sad theme in the clarinet interrupted by an expressive melody in the violins and a re-appearance of the previous theme, this time in brass.

The development achieves its dramatic character mostly by a continuous crescendo, as well as by a fight for predominance between the rhythmic and melodic themes heard in the exposition.

The climax is reached at a triple forte where the recapitulation starts. The melancholic idea of the opening bars is now transfigured into a heavy adagio sostenuto. All themes of the exposition re-appear in a completely different mood, often combined with each other. In a certain way we could compare the recapitulation to a second development. After another expressive climax, where we can recognize four of the main themes played together, the excitement dies slowly down to the quiet mood of the beginning.

Dirge written to honour the memory of Elie Spivak (1902-1960), a pillar of the Toronto Symphony Orchestra for seventeen years, is a tragic adagio with ascending and plaintive themes, not without any affinity to Mahler's Kindertotenlieder. On a background of clarinets, the poetry of the melody of the oboe stands right out. Then a mysterious and sad allegro, twice intercepted by the tragic motifs of the beginning, leads back to the initial adagio, which brings back the main statements, this time varied and in new colours. All the themes are heard simultaneously in an intense fortissimo, the climax of the work which ends somber and without hope.

The Scherzo was written in 1952 in New York, and was premièred in Paris. The work is joyful and polyphonic. There is constant usage of counterpoint, but not in an artificial way: it is used to give life to each new occurrence of the principal theme. The work ends particularly  joyfully with the return of the principal theme.