Die Symphonische Dichtung in der Wiener Schule

In what context did Zemlinsky and Schönberg compose their symphonic poems Die Seejungfrau and Pelleas und Melisande in 1902/03? How was programme music discussed and what role did Richard Strauss play? This study answers these questions on the basis of a quantitative analysis of Viennese symphonic music and an evaluation of the journal Die Musik during the period from 1898 to 1911. The reception of both works in the Viennese School (including Berg, Webern and Schönberg in the Harmonielehre and essays) is examined, as is the specific function of programme music in the ‘Verein für musikalische Privataufführungen’. In this study, the author opens up new perspectives on programme music after 1900 and provides extensive data material.