The symphonist Felix Woyrsch (1860-1944) shouldered the burden of the mighty symphonic legacy that preceded him; a tradition he did not aspire to break with but rather seek a negotiable path for its continuance in his own personal manner. His Three Bocklin Fantasies belong to the group of works preparing for his symphonic style, drawing on coloristic instrumental and harmonic resources as in hardly any other work by him. The Third Symphony’s thoroughly chromaticized, frequently dissonant tonal idiom justifies its claim to the status of an ‘Apocalyptic Symphony’ in the context of his oeuvre.