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
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