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
The Airborne Symphony of flight with the role of airplanes in modern warfare: As expected, the narrator holds a primary role in advancing the symphony's plot. The soloists and chorus provide commentary on the action. The symphony is comparable to works by Dmitri Shostakovich, American counterpart Samuel Barber, and the earlier works of Igor Stravinsky. Blitzstein, who subscribed to the artistic principles of socialist realism, wrote in a conservative style that was understandable on first hearing. Presenting the history of human flight, "The Airborne Symphony" was first performed April 1–2, 1946, at New York City Center by the New York City Symphony Orchestra