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
Ellora Symphony Ellora Symphony Yasushi Akutagawa's Ellora Symphony was composed in 1958 after a visit to the Ellora Caves in Aurangabad, India. One of several Japanese primitivistic symphonies composed in the 1950s, including Akira Ifukube's Sinfonia Tapkaara and Kan Ishii's Sinfonia Ainu, it is representative of Akutagawa's most adventurous period, when he associated Toru Takemitsu and Toshiro Mayuzumi and embraced avant-garde music. Instead of the traditional multi-movement layout, which Akutagawa had used in his Shostakovichian Prima Sinfonia three years earlier, the Ellora Symphony is structured in fifteen sequences: eight caressing "feminine" fragments marked Adagio or Andante and seven aggressive "masculine" ones marked