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 Six. The Symphony was "forgotten during the 1920s" but "made a comeback in the 1930s and 1940s," being performed by multiple orchestras, some multiple times each, although not by "major" orchestras such as the New York Philharmonic or Boston Symphony. The symphony has received continued praise from modern critics as well, such as Andrew Achenbach of "Gramophone", who in 2003 lauded the work for its "big heart, irresistible charm and confident progress." 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