▁is ▁added ▁in ▁the ▁finale . ▁Despite ▁the ▁title ▁the ▁sym phony ▁draw s ▁little ▁on ▁the ▁folk - song s ▁bel oved ▁of ▁the ▁composer , ▁and ▁the ▁past oral ▁landscape ▁ev oked ▁is ▁not ▁a ▁tran qu il ▁English ▁scene , ▁but ▁the ▁French ▁coun tr ys ide ▁rav aged ▁by ▁war . ▁Some ▁English ▁mus icians ▁who ▁had ▁not ▁fought ▁in ▁the ▁First ▁World ▁War ▁misunder stood ▁the ▁work ▁and ▁heard ▁only ▁the ▁slow ▁tem pi ▁and ▁quiet ▁tone , ▁failing ▁to ▁notice ▁the ▁character ▁of ▁a ▁requ iem ▁in ▁the ▁music ▁and ▁mist aking ▁the ▁piece ▁for ▁a ▁rust ic ▁id yll . ▁Kennedy ▁comments ▁that ▁it ▁was ▁not ▁until ▁after ▁the ▁Second ▁World ▁War ▁that ▁" the ▁spectral ▁' Last ▁Post ' ▁in ▁the ▁second ▁movement ▁and ▁the ▁girl ' s ▁l ament ing ▁voice ▁in ▁the ▁finale " ▁were ▁widely ▁noticed ▁and ▁understood . ▁ ▁Sym phon ies ▁ 4 – 6 ▁( 1 9 3 5 – 1 9 4 8 ) ▁The ▁middle ▁three ▁sym phon ies ▁are ▁purely ▁orch est ral , ▁and ▁generally ▁conventional ▁in ▁form , ▁with ▁son ata ▁form ▁( mod ified ▁in ▁places ), ▁specified ▁home ▁keys , ▁and ▁four - mov ement ▁structure . ▁The ▁orch est ral ▁forces ▁required ▁are ▁not ▁large ▁by ▁the ▁standards ▁of ▁the ▁first ▁half ▁of ▁the ▁ 2 0 th ▁century , ▁although ▁the ▁Four th ▁calls ▁for ▁an ▁augment ed ▁wood wind ▁section ▁and ▁the ▁Six th ▁includes ▁a ▁part ▁for ▁ten