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Many cues have titles resembling those of a symphony’s movements, tempo indications like “Adagio” and “Andante Con Moto.”

But without much else in the way of an overarching vision, the piece grew indistinct by the second movement, which, in taking its time, also lost its sense of shape and direction, an andante con moto without its moto.

The restored movement — the “Blumine” or “Flowerine” passage, marked andante con moto — offered an unexpected respite on the familiar journey of the First.

The third and fourth were a showcase of bustling internal mechanics — especially the andante con moto third, in which the violins seem eager to identify as woodwinds.

For the most part, though, Manze and the Los Angeles Philharmonic maintained enough rhythmic drive to buoy the symphony, from its grand opening theme, performed with nobility by horn player James Nickel, to the other-worldly oboe solos in the Andante con moto, courtesy of Anne Marie Gabriele.