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
Symphony No. 6 (Schuman) premiere was poorly received by its Dallas audience, the piece has since been praised by music critics. Andrew Clements of "The Guardian" praised the symphony, remarking: The work was similarly praised by Lawrence A. Johnson of the "Chicago Classical Review" who wrote: Symphony No. 6 (Schuman) The Symphony No. 6 is the sixth symphony by the American composer William Schuman. The work was commissioned by the Dallas Symphony League and was given its world premiere by the Dallas Symphony Orchestra under the conductor Antal Doráti on February 27, 1949. The symphony has a duration of roughly 27 minutes and is