Choral symphony of the work]." Mahler expanded the Beethovenian model for programmatic as well as symphonic reasons in his Second Symphony, the "Resurrection", the vocal fourth movement, "Urlicht", bridging the childlike faith of the third movement with the ideological tension Mahler seeks to resolve in the finale. He then abandoned this pattern for his Third Symphony, as two movements for voices and orchestra follow three purely instrumental ones before the finale returns to instruments alone. Like Mahler, Havergal Brian expanded the Beethovenian model, but on a much larger scale and with far larger orchestral and choral forces, in his Symphony No. 1
Gaelic Symphony Gaelic Symphony Gaelic Symphony or Symphony in E-Minor, Op. 32 was written by Amy Marcy Cheney Beach in 1894; it was the first symphony composed and published by a female American composer. The piece debuted in Boston on Friday, October 30, 1896 to "public and journalistic acclaim." Beach drew inspiration for the large orchestral work from simple old English, Irish, and Scottish melodies; thus, she subtitled the work 'Gaelic.' Beach began composing her symphony in November 1894. Although Beach would later become more accepting of music from North American traditions—such as Eskimo and Native American themes—Beach chose to incorporate songs