The choral textures are relatively simple (though by no means uninteresting), as is the orchestral writing for strings, organ, piano four hands and percussion.

For "color", he employed instruments used in ancient folk music, and to underscore critical dramatic moments, he added choral textures and, occasionally, a solo voice.

Some critics held that this was not as achievable in larger choral textures.

In these works, the composer liberally resorted to late romanticist harmony resulting in thick, at instances polyphonic, choral texture.

The orchestral and choral textures are often daringly thick in this music.

One of the most effective and simple choral textures is homophony, in which all parts move together, melody with harmony.

Homophony is probably the commonest choral texture of all, and has been used in all periods.

It was possible to get swept up in the sheer heft of the orchestral and choral texture, but those quickly grew cloying and then flat-out irritating.

The choral textures and wide intervals have a hard, hollow quality evoking ancient rites of spring without really copying any other composer's rite of spring.

The elegant choral textures and solid-sounding instrumental playing made its way through a slight haze of echo.