Alexander Melnikov - Mayer: Works Vol. 1 - Symphony No. 1, Piano Concerto - Import CD

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Alexander Melnikov

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Composer Emilie Meyer The Berlin Academy of Early Music Launches a New Series! Piano Concertos: Melnikov’s Rich Musical Interpretation Emilie Meyer (1812–1883) was one of the most important female composers of the 19th century and was among the best-known of her time. In a male-dominated musical culture, she achieved the remarkable feat of bringing her works to a wide audience, and her compositions were performed throughout Europe. However, she was soon forgotten after her death. It is only in recent years that interest in this outstanding creative artist has begun to resurge. Today, her works are increasingly being featured in concerts, recorded, and published. While this trend is partly driven by a growing interest in the works of female composers and female artists in general, it is even more due to the extraordinary artistic value inherent in her compositions themselves. The Berlin Academy of Early Music has launched a highly anticipated series aimed at revealing her true worth. The first release features a recording of her Piano Concerto, with Alexander Melnikov as the guest artist. Melnikov brings astonishing richness to the expression of Meyer’s musical ideas, which are simple yet brimming with creativity. Another major highlight is the sound of the Bösendorfer piano, which Melnikov personally selected. The Berlin Academy of Early Music also brilliantly recreates the musicality of Meyer’s other orchestral works, which are full of surprises, such as her unexpected modulations. This is a series not to be missed! Like many composers, including Fanny Hensel, concert overtures served as a venue for Meyer to experiment with symphonic techniques. From the early 19th century onward, the overture evolved into an independent concert work, becoming, in Schumann’s words, “a condensation of the symphonic ideal within a smaller framework.” The *Overture in D Minor* creates a truly Romantic soundscape that emerges from a mysterious and hesitant introduction. The piece is filled with surprises for the listener, such as a brilliant flute solo. Meyer’s only solo concerto is the *Piano Concerto in B-flat Major*. A distinctive feature of this work is that neither the first nor the final movement includes a solo cadenza before the recapitulation. The piece exhibits a Classical-era character so pronounced that it is hard to believe it was composed in the same era as Brahms and Liszt; it is simple yet rich in musical expression. *Overture No. 3 in C Major* is likely one of Meyer’s early orchestral works. Music critic Ludwig Lerschtaub left the following review of Meyer’s symphonies: “It has been extremely rare for women to compose large-scale musical works. However, we are pleased to announce the presence of such a female composer in the music world. Miss Emilie Meyer, a pupil of Leve, has already composed two symphonies in C minor and E minor, both of which have been performed by the Stettin Orchestra to great acclaim.” Making full use of each instrument’s range, this work unfolds like a dramatic narrative, featuring a torrential momentum, astonishing modulations, and a conclusion that evokes a final triumph. HARMONIAMUNDI