▁at ▁once ▁cross - sh aped ▁and ▁spher ical .... ▁The ▁composer ▁draw s ▁mus ically ▁on ▁the ▁three ▁main ▁str ands ▁of ▁Christian ity — Or th odox , ▁Catholic , ▁Protest ant — while ▁underlying ▁this ▁is ▁a ▁three – note ▁sem it one ▁interval ▁mot if ▁representing ▁syn agog ue ▁chant , ▁thus ▁symbol izing ▁the ▁Jewish ▁source ▁of ▁Christian ity ." ▁The ▁result , ▁Ivan ▁Mo ody ▁writes , ▁is ▁that ▁Sch nitt ke ▁" att empt s ▁to ▁recon cile ▁elements ▁of ▁z nam enn ï y ▁and ▁Greg or ian ▁chant , ▁the ▁Luther an ▁ch or ale ▁and ▁Syn agog ue ▁cant ill ation ▁... ▁within ▁a ▁dense , ▁poly ph onic ▁orch est ral ▁texture " ▁A ▁ten or ▁and ▁a ▁counter ten or ▁also ▁sing ▁word lessly ▁at ▁two ▁points ▁in ▁the ▁sym phony . ▁W ords ▁are ▁saved ▁for ▁a ▁finale ▁in ▁which ▁all ▁four ▁types ▁of ▁church ▁music ▁are ▁used ▁cont rap unt ally ▁as ▁a ▁four - part ▁cho ir ▁s ings ▁the ▁A ve ▁Maria . ▁The ▁cho ir ▁can ▁choose ▁whether ▁to ▁sing ▁the ▁A ve ▁Maria ▁in ▁Russian ▁or ▁Latin . ▁The ▁program m atic ▁intent ▁of ▁using ▁these ▁different ▁types ▁of ▁music , ▁Sch nitt ke ▁bi ograph er ▁Alexander ▁I v ash kin ▁writes , ▁is ▁an ▁ins istence ▁by ▁the ▁composer ▁" on ▁the ▁idea ▁... ▁of ▁the ▁unity ▁of ▁human ity , ▁a ▁synth esis ▁and ▁harm ony ▁among ▁various ▁manifest ations ▁of ▁belief