was written in 1907; if such works are still worth hearing at all, they should surely be sampled on reference recordings rather than in a concert. Zemlinsky and Schreker had more individual voices, and both deserve careful reassessment, although I wonder if they are well served by being exposed in an aca

verlapped with an impressive array of brilliant composers including Bruckner and Brahms early on, and then later, Mahler, Reger, Pfitzner, Schreker, Zemlinsky, Strauss, and many others. With such stiff competition from the nationalist and modernist musical movements, it seems inevitable that — some eight