This musical work is the subject of Magnar Breivik's essay "A Sermon for Fishes in the Secular Age," and in a letter to Arthur Seidl the composer of this work claimed the middle movements function as a sort of interludium.
This musical work is the subject of Magnar Breivik's essay "A Sermon for Fishes in the Secular Age," and in a letter to Arthur Seidl the composer of this work claimed the middle movements function as a sort of interludium. The musical score of this work calls for a break of exactly five minutes between the first movement and the second, before the rest of the piece is played without interruption. In the grosse Appell portion of this work, the offstage brass plays against the (*) nightingale of death represented by a flute. It depicts an angel going to God with the Urlicht poem and earlier shows the despair of the unnamed hero in its first movement. Hans von Bulow's funeral provided the inspiration for the setting of Klopstock's poetry into the finale of this work which was expanded from the composer's Todtenfeier accompaniment to the Titan Symphony. For 10 points, name this piece sometimes called the Resurrection Symphony.
This musical work is the subject of Magnar Breivik's essay "A Sermon for Fishes in the Secular Age," and in a letter to Arthur Seidl the composer of this work claimed the middle movements function as a sort of interludium.
Mahler's Second Symphony [Resurrection Symphony before either one is mentioned]