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
A Sea Symphony choral music in Britain during the first half of the 20th century. The work is sometimes referred to as the Symphony No. 1. From 1903 to 1909, Ralph Vaughan Williams worked intermittently on a series of songs for chorus and orchestra that were to become his most lengthy project to date and his first true symphony. Originally titled "The Ocean", "A Sea Symphony" was first performed in 1910 at the Leeds Festival on the composer's 38th birthday. This is generally cited as his first large-scale work; although "Grove" lists some 16 other orchestral works composed by Vaughan Williams before he