Tanzpoem

It is hardly known that Hugo von Hofmannsthal, whose collaboration with Richard Strauss produced many masterpieces of opera literature, was also in close artistic exchange with Alexander Zemlinsky. In 1901, they collaborated on the ballet Der Triumph der Zeit, a dance-theater triptych combining elements of classical mythology with French symbolism. The premiere at the Court Opera failed due to Mahler's disapproval, who found little to like in the idealistic, pathetic libretto. But Zemlinsky had already finished composing the work; only the orchestration remained incomplete in the third act. He later reworked the second act of the ballet himself into the symphonic poem Ein Tanzpoem. He set Hofmannsthal's fantastic tale to music with inexhaustible melodic inventiveness, harmonic sophistication, dazzling orchestration and formal stringency.

At the time the work was composed, both artists were in the prime of their youth, imbued with love and hope. Hofmannsthal married Gerty Schlesinger in June 1901 and Alexander Zemlinsky was in a love frenzy with Alma Schindler.

At the time the work was written, both artists were in the prime of their youth, imbued with love and hope. Hofmannsthal married Gerty Schlesinger in June 1901, and Alexander Zemlinsky was in a love frenzy with Alma Schindler.
"The bells have been ringing since 7 o'clock in the morning for the procession... I feel a lot of youth and happiness, courage and arrogance in me... I love, love you unceasingly, unspeakably, kiss you so warmly that you must feel the one little wound on your lips - do you feel it? - and go from you directly to work; today I will be lucky: I will begin the second act of the ballet."

We want to contrast this work with works of French Impressionism on the one hand and Viennese Fin de Siècle on the other, in three program variations.