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. 3 (Myaskovsky) perhaps completely at least from the front. While Myaskovsky fought at the front during World War I, the message reached him that the conductors Aslanov (who had already premiered the first symphony) and Alexander Siloti were interested in the score of the third symphony. With this symphony, Myaskovsky's nationalistic attitude was made clear. Symphony No. 3 (Myaskovsky) Nikolai Myaskovsky wrote his Symphony No. 3 in A minor, Op. 15 in 1914. It is in two movements: It is dedicated to Boris Asafyev. The third symphony was the last that Myaskovsky wrote before the outbreak of the First World War. The