Immediately afterwards there occurred one of the strangest episodes in his entire creative life: simultaneously and on identical musical material, he composed the Lied 6: Des Antonius von Padua Fischpredigt and the new symphony’s Scherzo. He soon completed the Andante he had sketched five years earlier. Mahler’s creative urge survived the master’s cruel words, but the Hamburg Opera now consumed most of his time and energy, and it was not until the summer of 1893, spent near Salzburg, that he returned to the Symphony No. Compared with this, Tristan is a Haydn symphony.” When Mahler played him Todtenfeier on the piano, however, Bulow covered his ears and groaned: “If what I have heard is music, I understand nothing about music. There he attracted the attention of the great conductor Hans von Bulow (1830-1894), well known as a champion of new music. The opening movement was soon completed and named Todtenfeier (Funeral Ceremony), but it then languished among his papers until 1891, the year in which he left the Budapest Opera to become conductor in Hamburg. The ink was barely dry on the score of his First Symphony in 1888 when Mahler began to toy with the idea of a new large symphonic work in c.
“Resurrection” (in German “Auferstehungs-symphonie”).
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