Choral symphony simply an attempt at grandiose effect, though the composer's use of such forces earned the work the subtitle "Symphony of a Thousand" from his press agent (a name still applied to the symphony). Like Stravinsky, Mahler makes extensive and extended use of counterpoint, especially in the first part, "Veni Creator Spiritus". Throughout this section, according to music writer Michael Kennedy, Mahler displays considerable mastery in manipulating multiple independent melodic voices. Musicologist Deryck Cooke adds that Mahler handles his huge forces "with extraordinary clarity". Vaughan Williams also insisted on a balance between words and music in "A Sea Symphony", writing in
A London Symphony A London Symphony A London Symphony is the second symphony composed by Ralph Vaughan Williams. The work is sometimes referred to as the Symphony No. 2, though it was not designated as such by the composer. First performed in 1914, the four-movement symphony was lost, reconstructed and later modified by Vaughan Williams. The work is scored for: Vaughan Williams said that while the title may suggest a programmatic piece (and the work includes sounds heard in London such as the Westminster Quarters), it was intended to be heard as absolute music. In a programme note in 1920, he suggested that