Wunderschöne Interpretation dieser romantischen und fein komponierten Sinfonie mit gut harmonisierten und perfekt entsprechenden Tönen aller Instrumente. Der dritte Satz klingt besonders schön und echt melodisch. Der intelligente und geniale Dirigent leitet das perfekt trainierte Orchester im angemessenen Tempo und mit angenehmer Dynamik. Diese relativ unbekannte Komponistin soll viel häufiger angehört und viel höher geschätzt werden!
Apparently her father shot himself!! He missed out on her eight symphonies, this one is particularly well written yet sadly under-performed. His loss not ours!! :-)
George Gordon BYRON -- Stimmt...und es strapaziert die Leichtgläubigkeit, dass eine Dame so schöne Musik schreiben kann...manchmal erinnert sie sogar an den Riesen Schumann!
I'm heartened to hear this work as I'm currently writing the finale of my own first symphony which, for off-the-beaten-path reasons is styled after the music of this same era-the. mid-late Romantic. And I'm glad Mayer's Symphony has received a very fair performance here. What are the burdens composers of this very kind of music shoulder? Let me answer with ten points garnered from my own experience. 1. Controlling the form. This can be more difficult if you're writing directly to full score as I am, although I'm writing for a Schubert size orchestra (Woodwinds by pairs, pairs of Horns and Trumpets, 3 Trombones, 2 Timpani, and Strings) which is not as difficult as writing directly to full score for a larger ensemble would be. 2. Varying the harmonic progression sufficiently while maintaining unity. Three chord songs are tolerable due to their typically short length; symphonies need more fertile and varied harmonic ground in which to grow. 3. Writing interesting and idiomatic parts for all the players, and remembering to give them sufficient measures of rest for breaks and page-turns (the eternal, after-the-fact 'Gotcha!' for composers…) 4. Writing memorable melodies. I hate symphonies that are pure structure and lack some kind of catchy, interesting melody. Even stunning orchestration alone usually can't land a piece in its audiences' hearts for long without some great melody that captures them and brings them back again later. 5. Remembering that the symphony is for its AUDIENCE and not for the composer. The composer will soon enough be long gone but the audience will still be there for as long as orchestras endure. 6. Understanding each instrument well enough that you don't write something impractical for the player, but also that you don't write a Kindergarten part for them to play. 7. Remembering that the music as a whole and in its details must SAY SOMETHING, and not just carry on and on and on like eminently forgettable background music. 8. Remembering to vary the dynamic levels and registers for variety's sake. Beethoven set a high bar for this, among other things. He also wrote what I like to call 'music concentrate'-a constant barrage of sufficiently varied and interesting stuff. 9. Striving to orchestrate adequately without overdoing or underdoing things. It's often easier to overdo than vice versa and it's also easy to get lost in the joys of orchestration to the detriment of musical substance (and in that case-I know others will hastily remind me-write a short score FIRST so that you don't lose your grip on the logic and development of your musical material). 10. Learning to recognize when something just written isn't coherent, doesn't work with what came before, or is perfunctory rather than inspiring, and then being willing to delete it and rewrite.
you forget other many important things...like for example make a good orquestation and use good the instuments...is the most important thing...ist only your opinion and is good, but what you say all omposer know better than you.
The opening made me feel like i was immediately in the middle of a symphony. Brilliant build up build up build up C MAJOR CHORD. So clever.
Wunderschöne Interpretation dieser romantischen und fein komponierten Sinfonie mit gut harmonisierten und perfekt entsprechenden Tönen aller Instrumente. Der dritte Satz klingt besonders schön und echt melodisch. Der intelligente und geniale Dirigent leitet das perfekt trainierte Orchester im angemessenen Tempo und mit angenehmer Dynamik. Diese relativ unbekannte Komponistin soll viel häufiger angehört und viel höher geschätzt werden!
This is so fantastic! Immediately going to look for more of Emilie Mayer!
This is really, really good stuff. And if I didn't know better, I would have guessed Schumann or Mendelssohn--she's that good!
tbf Schumann was in the romantic as was she
So much opera in this! Great!
Opera and Ballet.
Simply good. Deserves to be added to the canon.
Apparently her father shot himself!! He missed out on her eight symphonies, this one is particularly well written yet sadly under-performed. His loss not ours!! :-)
Sehr schön
George Gordon BYRON -- Stimmt...und es strapaziert die Leichtgläubigkeit, dass eine Dame so schöne Musik schreiben kann...manchmal erinnert sie sogar an den Riesen Schumann!
@@steveegallo3384 Genau. Oder Mendelssohn.
I'm heartened to hear this work as I'm currently writing the finale of my own first symphony which, for off-the-beaten-path reasons is styled after the music of this same era-the. mid-late Romantic. And I'm glad Mayer's Symphony has received a very fair performance here.
What are the burdens composers of this very kind of music shoulder? Let me answer with ten points garnered from my own experience.
1. Controlling the form. This can be more difficult if you're writing directly to full score as I am, although I'm writing for a Schubert size orchestra (Woodwinds by pairs, pairs of Horns and Trumpets, 3 Trombones, 2 Timpani, and Strings) which is not as difficult as writing directly to full score for a larger ensemble would be.
2. Varying the harmonic progression sufficiently while maintaining unity. Three chord songs are tolerable due to their typically short length; symphonies need more fertile and varied harmonic ground in which to grow.
3. Writing interesting and idiomatic parts for all the players, and remembering to give them sufficient measures of rest for breaks and page-turns (the eternal, after-the-fact 'Gotcha!' for composers…)
4. Writing memorable melodies. I hate symphonies that are pure structure and lack some kind of catchy, interesting melody. Even stunning orchestration alone usually can't land a piece in its audiences' hearts for long without some great melody that captures them and brings them back again later.
5. Remembering that the symphony is for its AUDIENCE and not for the composer. The composer will soon enough be long gone but the audience will still be there for as long as orchestras endure.
6. Understanding each instrument well enough that you don't write something impractical for the player, but also that you don't write a Kindergarten part for them to play.
7. Remembering that the music as a whole and in its details must SAY SOMETHING, and not just carry on and on and on like eminently forgettable background music.
8. Remembering to vary the dynamic levels and registers for variety's sake. Beethoven set a high bar for this, among other things. He also wrote what I like to call 'music concentrate'-a constant barrage of sufficiently varied and interesting stuff.
9. Striving to orchestrate adequately without overdoing or underdoing things. It's often easier to overdo than vice versa and it's also easy to get lost in the joys of orchestration to the detriment of musical substance (and in that case-I know others will hastily remind me-write a short score FIRST so that you don't lose your grip on the logic and development of your musical material).
10. Learning to recognize when something just written isn't coherent, doesn't work with what came before, or is perfunctory rather than inspiring, and then being willing to delete it and rewrite.
you forget other many important things...like for example make a good orquestation and use good the instuments...is the most important thing...ist only your opinion and is good, but what you say all omposer know better than you.
I appreciate your comments, particularly regarding the central importance of MELODY.
Wonderful stuff! Her life wasn't so easy either.
wunderbare musik einer viel zu wenig bekannten komponistin. ich fühle mich zur musik hingezogen.
Fantastic piece
Great Music ❤️
великолепно
Where can I find the edited material to rent and be able to perform the symphony with my orchestra?
Hints of Mendelssohn, Brahms, and Beethoven all in one!
Uplifting
...