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 Colour Symphony and Eugene Goossens to write a piece each. Howells wrote "Sine Nomine" for wordless chorus, which was not given its second performance until his centenary year 70 years later, in 1992. Goossens wrote a piece called "Silence" for chorus and orchestra. Elgar's own contribution was his orchestration of Johann Sebastian Bach's "Fantasia and Fugue in C minor". Bliss decided to write a symphony, but was at first undecided what the theme or character of the work would be. He could not get started for some weeks. One day, by chance, he came across a book on heraldry in which he