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
Symphony of the New World of the traditional concert world. The idea of the symphony has long been a hope of conductor Steinberg, who has over the past 25 years worked closely with the American Negro conductors, Dean Dixon and Everett Lee, as well as with innumerable nonwhite instrumentalists. In May 1964, Mr. Steinberg and a group of 13 prominent musicians organized a founding committee to create a symphony in which the principle of racial integration would find complete expression. It has taken almost one year for this artistic project to reach fruition. From its inception, the symphony has maintained a strict policy of accepting