Franz Schubert was an Austrian composer of the late Classical and early Romantic eras. Over his short life, he fully completed seven symphonies. His eighth symphony is called ‘Unfinished’ because it only has two complete movements (typically symphonies have four). There is a sketch for a third movement that had a nearly complete piano score but only had two pages of orchestration. Yet, it remains as one of his most popular orchestral works. Based on the dates on the manuscripts, Schubert started this piece in 1822. It is still unknown to this day why Schubert did not finish this work, there are many theories. Perhaps it was because in late 1822, Schubert contracted syphilis and began to suffer from depression along with failing health. Perhaps he was intimidated by Beethoven’s (1770-1827) symphonic works that started to grow in popularity in the 1800s. Schubert gave the manuscript of this symphony to Josef Hüttenbrenner who then gave it to his brother, Anselm. The manuscript sat in his desk drawer till it was premiered in 1865, 37 years after Schubert's death.
van Beethoven (1770 – 1827)
SymphonyNo.1inCmajor,Op.21
I. Adagio molto – Allegro con brio
II. Andante cantabile conmoto
When considering Beethoven, normally the first words that come to mind will be brilliance, passion, and innovation. He is frequently celebrated for his revolutionary techniques, particularly in Eroica, where he boldly excels into a new world of his own. But it’s easy in hindsight to overlook the earlier groundbreaking work of this compositional genius.
Beethoven’s first symphony inhabits the classical world of Haydn and Mozart, whose influenced shaped its familiar musical language. However, within this framework, Beethoven’s idiosyncrasies and surprises stand out all the more. This is evident from the famous opening chords, which – rather than clearly establishing the home key of C major –create a sense of tonal ambiguity that would have startled early audiences.
The symphony premiered in 1800 in Vienna, dedicated to Baron Gottfried van Swieten, the patron who played a key role in introducing Beethoven to Viennese society. With this symphony, Beethoven reflects Vienna’s vibrant musical culture at the turn of the 19th Century, marking his arrival as a symphonist and foreshadowing the innovations that would define his later works.
Emilie Mayer (1812 – 1883) OvertureNo.1inDminor
Emilie Mayer was a prolific German composer, often celebrated as the “Female Beethoven” for her outstanding contributions to Romantic music. Overture No.1 in D minor is a notable work in her orchestral repertoire and reflects Mayer’s desire to establish herself within the male-dominated world of 19th Century music.
This work stands as a testament to her orchestral mastery and emotional depth. Structured in a single movement, the piece opens with a solemn ‘Andantino’ section, evoking reflection and anticipation. This gradually transitions into a more dynamic and dramatic ‘Allegro Vivace’, where Mayer’s command of orchestral textures comes to the forefront. Cascading strings, bold brass, and expressive woodwinds weave together here to create a rich tapestry of sound. The piece accents her unique harmonic style, marked by sudden shifts in tonality and use of extended chords with compelling resolutions, ultimately contributing to the atmosphere of dramatic tension and excitement.
This overture not only demonstrates Mayer’s technical brilliance but also captivates listeners, taking them on an emotional journey, firmly solidifying her place as a trailblazer whose music continues, and will continue, to resonate with audiences.
Ludwig
TONIGHT’S PERFORMERS
Violin1
AnnadeBruin^
NicoleYuen*
AnnCriscuolo^
ClariseChong*
LinglingBao-Smith*
HannahLam
LilyThompson
BellaMorgan
Violin2
TristanGurney^
PhedraLow*
JeremyMetcalfe^
ChristopherBacon*
RachelPankhurst
TerryChen
TristanHail
AngelKatsenza
Viola
JonThorne^
LauraField*
MaisiePearce
PhoebeCanell
Cello
BenDavies^
OliverGrimes*
KianJan-Dickens
EvelynPong
ClaudiaBuchanan
Doublebass
KatyFurmanski^
TON
IGHT’S
PERFORMERS
Flute
AlenaWalentin^
EvelinaVenslovaite*
GwendolynSchneider*
RachelLi
EuniceChan
Oboe
GarethHulse^ JoeStapleton
Clarinet
ThomasWatmough^ BenHall*
BillyWhite
Bassoon JoshuaWilson^ LukePassmore*
Horn
MartinGrainger^ JosiePalmer*
HanaBenlalam
Trumpet
AnthonyThompson^
JamesMcPherson*
OskarWarren
Timpani
WillBishop
ReeceWalker
JoshuaLi
^Membersofthe London Mozart Players
*OrchestralScholars
The Royal Holloway Orchestra Committee
Clarise Chong Orchestral Manager
Klara Sweeney Socials and Events Manager
Gwendolyn Schneider Assistant Orchestral and Socials Manager
Ben Hall
Luke Passmore
Nicole Yuen
Fundraising Chief
Stage Manager
Assistant Stage Manager
Hannah Lam Assistant Stage Manager, Librarian
Phedra Low Librarian
Rebecca Miller Conductor
California-born conductor Rebecca Miller has earned an international reputation for her compelling, insightful, and energetic presence on the podium and for her ability to communicate with audiences of all ages. Recent guest-conducting includes the Kuopio Symphony Orchestra, Västerås Sinfonietta, DalaSinfoniettan,Buffalo Philharmonic Orchestra, New Haven Symphony Orchestra, Gävle Symphony Orchestra, Orchestra of the Swan, The OrchestraNow,TheBardMusicFestival,BBC NationalOrchestraofWales,Orchestraofthe Age of Enlightenment, London Mozart Players,LondonPhilharmonicOrchestra,BBC Concert Orchestra, BBC Scottish Symphony Orchestra, Royal Northern Sinfonia, City of LondonSinfonia,NationalYouthOrchestraof Scotland,OrquestaSinfonicaNacionalde
Mexico, and at the BBC Proms in the Royal Albert Hall. Following her debut with the Uppsala Chamber Orchestra in Sweden, she was immediately re-invited and appointed Chief Conductor, a post which she held from 2019-2023.
In previous seasons, Rebecca has guestconductedtheHoustonSymphony,Louisiana Philharmonic Orchestra, Reno Philharmonic, Bakersfield Symphony, Santa Cruz Symphony, Chicago College of the PerformingArts,HuntsvilleSymphony, Houston, and with the Jerusalem Symphony Orchestra in Israel. Firstprize winner in the Eduardo Mata International Conducting Competition, she has conducted throughout Mexico,includingrepeatedengagementswith theOrquestaSinfonicaNacionalandOrquesta Filarmonica delUNAM, and the state orchestras of Yucatan, Aguascalientes, and Sinaloa. In 2017, Rebecca was also featured in the Bruno Walter National Conductors Preview with the Nashville Symphony.Rebecca’s discography includes CDs with the Orchestra of the AgeofEnlightenment(CPE Bach Symphonies /Signum Records, which made the
finalshortlistfora2014GramophoneAward), with the BBC Concert Orchestra (Henry HadleyOrchestralworks/DuttonEpoch),with theBBCScottishSymphony(pianoconcertos by Amy Beach, Dorothy Howell, Cecil Chaminade / Hyperion Records), and three CDswiththeRoyalNorthernSinfonia(Haydn Symphonies / Signum Records; George Frederick Bristow’s ‘Jullien Symphony’ / New WorldRecords;ConcertosbyAaronJayKernis /SignumRecords).
Rebecca is passionate about her work with young musicians – she has recently started regular partnerships with the National Children'sOrchestraandthewiththeLondon Symphony Orchestra Discovery, and previously worked with the National Youth Orchestras of Scotland, NYO Wales, and NYOGB, with the Chicago College of the PerformingArts,andwiththeNationalYouth Orchestra of Venezuela (Teresa Carreño), much to the acclaim of its late founder José Antonio Abreu. She was conductor at the RoyalAcademyofMusic’sJuniorDepartment formanyyears,wheresheformedthegroundbreaking and unique JA Classical Orchestra, and works regularly with the Southbank Sinfonia in London,whereshe was AssociateConductorforthreeyears.
As Director of Orchestras at Royal Holloway University of London, she has been widely acclaimed for building the orchestral programme to new heights – starting an orchestralscholarshipprogramme,initiatinga side-by-side programme with the London Mozart Players, securing high-profile engagements (including ‘Magna Carta 800 at Runnymede’ a project with the London Philharmonic Orchestra and Temple Church Choir, performed in the presence of HM Queen Elizabeth II and 4000 dignitaries and honoured guests), and establishing a new initiative called ‘Music +’, which aims to build bridgesthroughmusicwithinterdepartmental projectsandinterdisciplinaryresearch.
Previously, Rebecca served as Resident Conductor of the Louisiana Philharmonic OrchestraandAmericanConductingFellowof
The Houston Symphony, and Assistant Conductor of the Jerusalem Symphony Orchestra. She holds a B.Mus. in Piano Performance from Oberlin Conservatory, an M.Mus in Orchestral Conducting from Northwestern University, and for two years was the Paul Woodhouse Junior Fellow in Orchestral Conducting at London’s Royal CollegeofMusic.
London Mozart Players are the oldest, freshest and most adventurous chamber orchestraintheUK
Set up over 75 years ago by Harry Blech to perform the works of Mozart and Haydn, LMP’smissionhasevolvedintocreatingbold, ambitiousandaccessiblemusicalexperiences forall.LMPareproudtobeattheforefrontof embedding arts and culture into the life of communities across the UK and beyond, performing both new works and music that staystruetotheirroots.
LMPworkwithschoolsandmusichubsaround the UK and beyond to inspire the next generation of musicians and music lovers. They’re continuing their long tradition of promoting young talent: Nicola Benedetti, JacquelineduPréandJanPascalTortelierare just three of many young musical virtuosi championedearlyintheircareersbythem.
LMP are based at Fairfield Halls in Croydon and have residencies at St John’s, Upper Norwood, Thaxted Festival and Grayshott Concerts. Collaborating with many of the world’s greatest soloists and conductors, LMP’s work is made in Croydon and celebratedacrosstheglobe.
OUR PROGRAMME
NOTES
The notes created for this event programme have been written by a team ofstudentsattheDepartmentofMusic,as part of the Concert Management & Artist Personnel Programme.
This is a professional development initiative run by the Concert Office where students are able to experience first-hand what goes on behind-the-scenes, who organises the publicity for an event, to even how to coordinate and manage a rehearsal schedule. All members of the programmearementoredbytheCollege's Performance Administrator, James Mark, and receive training from industry specialists.
Today’s programme notes were written by Amalia Kravtsova and Lucy Wootton.
