Emilie Mayer was regarded by her contemporaries as the “female Beethoven,” but the extensive oeuvre of this North German composer has since been largely forgotten—and can now be rediscovered with this overture. Bregenz-born composer Richard Dünser pays a very different kind of homage to his great predecessor Brahms: his Piano Quartet, Op. 60, is transformed here into a concerto. At the end, the Vltava flows through Smetana's “Fatherland” – a romantic history of the homeland that, with “Tábor,” also refers to the reformer Jan Hus and thus directly to Constance.