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
Gaelic Symphony Six. The Symphony was "forgotten during the 1920s" but "made a comeback in the 1930s and 1940s," being performed by multiple orchestras, some multiple times each, although not by "major" orchestras such as the New York Philharmonic or Boston Symphony. The symphony has received continued praise from modern critics as well, such as Andrew Achenbach of "Gramophone", who in 2003 lauded the work for its "big heart, irresistible charm and confident progress." Gaelic Symphony Gaelic Symphony or Symphony in E-Minor, Op. 32 was written by Amy Marcy Cheney Beach in 1894; it was the first symphony composed and published by