A significant earlier example of the use of 'progressive tonality' by a British composer is the First Symphony ("The Gothic") by Havergal Brian. This huge six-movement, two-part work begins with a sonata movement in D minor whose second-subject area is initially D-flat, becoming C-sharp; this moves to E in the matching portion of the recapitulation. This is a harbinger of E's later importance. Part I of the symphony closes in D major (end of movement 3), and Part II begins there, but during movement 4 the tonality shifts to E major, which for the remainder of Part II is opposed by its relative minor C-sharp until the unequivocal E major of the final "a cappella" bars.