The revision altered the original so thoroughly that Prokofiev felt that it was a new work; thus the new opus number, 112. In the summer of 1947, when the revisions took place, he also orchestrated Symphony No. 6 and wrote two propaganda pieces: Festive Poem and Flourish, O Mighty Land, both works for large forces. These are the additional instruments that are added   In this revised first movement, the augmentation of the original material doubles the length of the movement. The orchestration of this movement is also thicker than the original, and more closely resembles the orchestration of Prokofiev's Fifth and Sixth. The combination of a heavier use of brass and the use of piano and harp adds a unique timbre to the piece, further distancing it from the original neoclassical idiom. The different sections are not as clearly identified by tempi as is the original symphony. In the introduction a new theme is added (ex.5) that precedes the original first theme. Apart from this new theme, the introduction is essentially the same. The main difference in this revision is the heavily expanded development section. Prokofiev expands the sound palette with string Tremolos and dissonant chords in the brass. This movement also includes many more key changes and expands the machine-like ostinati from the first version. Prokofiev also utilizes more transitional material before introducing and underscoring the new subjects. To fit the larger scale of a socialist realist symphony, the second movement's revision basically doubles its length. It is extended primarily by repeating many thematic statements that only appeared once in Opus 47. In this movement, the four-measure introduction is extended by four measures and supplemented with striking new harmonies. There are other such expansions: the B theme is doubled by alternating its sub-phrases with new material of a "ticking clock" quality. Later on, the A theme is also doubled in size: first it is played in E-flat major and then in B major. Consequently, there is a modulation to G major. At the 3/4, the melody in the oboes and English horn appears as in Opus 47, but here this passage leads to a reminiscence of the original introduction theme. After the appearance of the introduction theme, following a reappearance of theme A, Prokofiev moves quickly back to the original, restrained ending, taken from the ballet. In this movement, Prokofiev adds to the Scherzo and Trio a new introduction, extends the coda, and inserts material at the main transition points that further develop the subjects.