Symphonic self-confidence
The compositional tradition weighs heavily on the keys of C minor and D minor. Starting with Ludwig van Beethoven's Symphony No. 5 in C minor, the former stands for an almost unattainable ideal in the field of symphonics, which is nevertheless striven for again and again, as shown not least by the fact that Felix Mendelssohn Bartholdy as well as Johannes Brahms and Anton Bruckner composed their Symphony No. 1 in C minor - Bruckner even wrote three symphonies in this key, as many as in D minor. This makes the admirable courage of the composers Louise Farrenc and Emilie Mayer, who ventured into the mined terrain of C minor in the 1840s with their respective first symphonies, all the more remarkable. The Swedish composer and violinist Amanda Röntgen-Maier, who in 1872 was the first woman ever to receive a diploma from the Royal Academy of Music in Stockholm, did not shy away from comparison with the works of her famous male colleagues with her dramatically virtuosic Violin Concerto in D minor.
Together with the outstanding Russian-German violinist Alina Pogostkina, the Orchestra Wiener Akademie under the direction of Martin Haselböck brings these impressive testimonies of symphonic self-confidence to life.
Emilie Mayer (1812–1883)
Symphony No. 1 in C minor (1845-46)
Amanda Röntgen-Maier (1853–1894)
Concerto in D minor for violin and orchestra (1874-75)
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Louise Farrenc (1804–1875)
Symphony No. 1 in C minor, op. 32 (1841)
Alina Pogostkina | Violin
Orchester Wiener Akademie
Martin Haselböck | Conductor