Orchestra Works Partita No. 1 (1935) Symphony No. 1 a minor op. 18 (1937) "Nun freut euch, lieben Christen g'mein", 4 records for double choir and drums (1937) Symphony No. 2 op. 20 (1938) " Kume, kum, Geselle min ", Divertimento after old folk songs, op. 24 (1939) Partita No. 2, op. 27 (1940) Symphony No. 3, op. 28 (1941) Variations over a theme by Bach, op. 29a (1942) Symphony variations over a theme by H. Schütz, op. 29b (1942) Symphony No. 4, op. 39 (1948) Concert No. 1 for string orchestra, op. 40/1 (1950) Concert No. 2 for string orchestra, op. 40/2 (1951) Symphony No. 5, op. 41 (1951/53) Symphony preclassica, op. 44 (1953) German Dances, variations over an own theme for string orchestra (1953) Symphony No. 6, op. 46 (1954/66) Sinfonia breve, op. 47 (1955) Symphony No. 7, op. 49 (1957) "Magische Quadrate" (Magic squares), Symphonic fantasy, op. 52 (1959) Sinfonia by archi, op. 54 (1959) Spiegelkabinett (mirror cabinet), waltz, op. 55 (1960) Symphony No. 8, op. 59 (1964/65) Chaconne, op. 71 (1972) Concert No. 3 for string orchestra, op. 74 (1974) The basement of David's composition style is the experience of the old polyphony by the Dutchmen and by Bach. His output he liked to take from so-called "cantus firmi" or from melody models. All appearances of a work are to have a common root, nothing should be available coincidentally or from bare arbitrariness. Donates counterpoints derivatives gave him relationship, in particular from "The art of fugue". In the middle of the thirties, after David had tested the procedures plentifully in the organ music (successfully, by the way), he had transferred it to the orchestra works, and so a new type was created, the kind of a "counterpointing symphony", like David's first one in a-minor op. 18. Also the "Partita No. 1" - composed already 2 years before - , which came out from an organ work, is a symphony. Not only the fact, that David created a new type of symphony, a type, which is able for various developments, moves him near Bruckner, but also holding to the high style, in the renouncement of orchestra effects, pittoresk details, by program and s.o. This high style is not left by the extremely artific waltz of the 6th symphony op. 46. Naturally there are also differences between Bruckner and David, differences not only within the style. David's symphonies are not so long as an evening, never been longer than 35 minutes, they are fewer spaciously, fewer "epic". Rudolf Stephan (Translation: Dirk Heinze)