Zemlinsky and Mahler move against the same background - fin-de-siècle Vienna. The refined and decadent city where Klimt and the artists of the "Secession" movement made their break from academic rigour was an intellectual and highly cultured place. These were years of ferment, during which Gustav Mahler gave voice to the unease and contradictions so characteristic of that time. Dating to 1889, his First Symphony, the "Titan," is a manifesto rich with elements from a variety of musical worlds - fanfares, waltzes, popular songs, the sounds of nature - in an emotionally upsetting fresco summarizing the entire musical landscape. The idea and title were inspired by the novel by Jean Paul, a romantic author and a favourite of Schumann. But five years later, the programme disappeared, in accordance with the climate of the time torn between "pure" music and "programme" music. In the shadow of such greatness is Sinfonietta by Zemlisky, who for his part enjoyed Schönberg's esteem and was his first teacher. These clashes of sound, marking a variety of moods, are well-suited to the multi-faceted personality of Vladimir Jurowski, one of the young conductors most in demand on the international landscape, here to lead Orchestra dell'Accademia di Santa Cecilia.