The Serenade in G (identical in its three formats, though I prefer the original's two violins, two violas, two cellos, single double-bass) was the most poised response I could make to "unjustified criticism".  Convicted of palliating crimes against long-defunct obligatory progressivist "modernity", I wrote the sweetest, most escapist and self-indulgent strains I could muster.  The careful listener won't miss the same concern with symmetry / asymmetry in the phrase lengths, and a constructivist approach to the basic materials, consistent whether the context is Brahmsian warmth or grim eviscerated Rivers of Hell.