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
Symphony No. 3 (Schumann) movement of Schumann's Third Symphony where he uses his experience of witnessing the elevation of a cardinal at a Cathedral in Cologne which is a more detailed story while Beethoven's program seemed to be more out of pure inspiration. Symphony No. 3 (Schumann) The Symphony No. 3 in E-flat major, Op. 97, also known as the Rhenish, is the last symphony composed by Robert Schumann (1810–1856), although not the last published. It was composed from 2 November to 9 December 1850, and comprises five movements: The Third Symphony is scored for two flutes, two oboes, two clarinets in B, two