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 this work. For this work, Yamada composed music for the western orchestra which is used to counterpoint a classical "nagauta", the music which accompanies the "kabuki". The symphony is subtitled "Tsurukame" after the name of the "nagauta" which is used. Composed in 1857, the text celebrates the Emperor of Japan and the imperial court. The symphony is in one movement with a duration of approximately 17 minutes. The "Nagauta Symphony" uses a western orchestra and voices, as well as an ensemble of traditional Japanese musical instruments. The Japanese ensemble consists of several shamisen and percussion. Nagauta Symphony The Nagauta Symphony