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
A Sea Symphony choral music in Britain during the first half of the 20th century. The work is sometimes referred to as the Symphony No. 1. From 1903 to 1909, Ralph Vaughan Williams worked intermittently on a series of songs for chorus and orchestra that were to become his most lengthy project to date and his first true symphony. Originally titled "The Ocean", "A Sea Symphony" was first performed in 1910 at the Leeds Festival on the composer's 38th birthday. This is generally cited as his first large-scale work; although "Grove" lists some 16 other orchestral works composed by Vaughan Williams before he