At the turning point between the 19th and 20th centuries, before the composers from the Second Viennese School opted for atonality and Richard Strauss turned towards neoclassicism, a fine unity still existed in Germanic music during the late romantic period. With Im Sommerwind, Anton Webern was fully immersed in romanticism, whereas, in his symphonic poems, Richard Strauss questioned the boundary between music and text, and rejected the limits of tonality, vocal expressiveness and orchestral richness in his operas.