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
Nagauta Symphony Nagauta Symphony The Nagauta Symphony is a symphony in one movement composed in 1934 by Japanese composer Kosaku Yamada. Kosaku Yamada was the first major Japanese composer to study the European tradition, and the first to write in the symphonic and operatic forms. He was responsible for introducing Japanese audiences to much of the European orchestral tradition through his conducting. In his compositions, Yamada had been working to combine European traditions with Japanese classical music since at least 1921, when he composed "Inno Meiji" which combined Japanese and western instruments. Composed in 1934, the "Nagauta Symphony" represented the culmination of