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 London Symphony the old prides and the old devotions, glide abeam, astern, sink down upon the horizon, pass – pass. The river passes – London passes, England passes. The symphony was composed from 1912 to 1913. It is dedicated to Vaughan Williams's friend and fellow composer George Butterworth (1885–1916) who was subsequently killed by a sniper on the Somme during World War I. It was Butterworth who had first encouraged Vaughan Williams to write a purely orchestral symphony. Vaughan Williams recorded that: We were talking together one day when he said in his gruff, abrupt manner: 'You know, you ought to write