C. E. F. Weyse
C.E.F. Weyse (Christoph Ernst Friedrich; born March 5, 1774, in Altona in Holstein, died October 8, 1842, in Copenhagen) was the most famous Danish composer and organist of the Golden Age.
Weyse is primarily known for his melodies to Danish patriotic songs and hymns to lyrics by N.F.S. Grundtvig and B.S. Ingemann and Christmas melodies, but has also written other important works e. g. seven symphonies.
1789-93 he was a student of the composer Johann Abraham Peter Schulz.
In 1794 he became an organist at the Garrison Church. In 1805 organist at Our Lady’s Church (from 1924 Copenhagen Cathedral).
In 1819 he became court composer, in 1816 titular professor, in 1830 member of the Swedish Royal Academy of Music, in 1842 dr. phil. h. c. at the University of Copenhagen.
Weyse got to know Mozart’s widow Constanze during the years she lived in Copenhagen (1810-1820) and had regular contact with her husband, the Danish diplomat and councilor Georg Nicolaus Nissen.
Constanze Mozart compared – very flatteringly for Weyse – Weyse’s music with that of her first husband.
He began the 1800 singing spiel the Sleeping Draught, but an unhappy infatuation with his music student Julie Tutein rendered him incapacitated for several years.
Under the impression of the performance of Mozart’s opera Don Juan at the Royal Theater in 1809, he regained his desire to work and completed the Sleeping Draught, which was performed in 1809.
From 1825 until his death in 1842, he lived in Kronprinsessegade (today no. 32); H.C. Andersen sought him out there.
On the house wall is erected a memorial plaque; he lived in an apartment on the 2nd floor.
Weyse was considered one of the most outstanding pianists of his time and especially his abilities as an improviser were highly valued.
For example, he was often invited to a company in the Copenhagen bourgeoisie with the expectation that he would “pay for dinner” with his piano playing after dinner.
The father, Werner Ernst Weyse, herbalist and former civil captain died as early as 1780, and the mother, Margaretha Elisabeth born Heuser, who was a dozen years younger than her husband, married the following year to A. Weber.
The mother was very religious and raised her children in the same direction, but was cheerful and lively, loved music, and played the piano pretty well.
The little Weyse had a beautiful and voluminous treble voice and was therefore often used for solo parts, and the old grandfather, who was a fiery music enthusiast and was delighted to have discovered the boy’s great musical talent, taught him violin and piano.
Weyse practiced very diligently on piano and soon acquired such a considerable skill that he was everywhere shown as a musical prodigy.
Without much knowledge of the theory of music, in his 13th year, Weyse composed some small songs and a few piano trios, which he himself thought sounded good; also his later so eminently developed gift to be able to improvise on the piano began to show.
Incidentally, in his spare time, he lived a fantastic dream life, wrote comedies for his puppet theater, and read novels in secret. But now it was time for him to be confirmed and then choose a way of life. He wanted to be a musician, and he was supported by his grandfather and to some extent also by his mother.
One day Weyse met the well-known music writer and professor of Kiel Carl Friedrich Cramer who heard him play and improvise and was immediately clear that it would be a shame if such a genius was not properly guided; the right man for that would be Cramer’s good friend, conductor Schulz in Copenhagen.
After days of sailing, during which Weyse suffered much from seasickness, he arrived in Copenhagen.
Schulz was at first somewhat reserved but when he inquired further about Weyse’s circumstances and discovered in an examination how deficient Weyse’s theoretical knowledge was, he immediately began to teach him the elementary of harmony.
Schulz also provided for Weyse’s material necessities. When he could not find a suitable lodging for Weyse, he admitted him to his house as a son and kept him free with everything for over three years until Weyse could feed himself.
In the summer of 1790 Schulz lived in Frederiksdal, and here Weyse composed a great fantasy and a sonata, which the teacher was very satisfied with.
Schulz provided Weyse with an excellent violin teacher in concertmaster Johan Henrik Christian Tiemroth. The singing master H.O.C. Zinck taught him to play the organ, Weyse’s later principal instrument.
Weyse became known as an excellent piano player and composed numerous pieces for solo piano.
He also composed seven symphonies composed between 1795 and 1799.
He wanted to try his hand as a dramatic composer and had already finished part of his singing game Sleeping Draught, when fate in March 1801 intervened in the 27-year-old man’s life plans.
Between the 18-year-old, beautiful, and very musical Julie Tutein and Weyse, a deep love affair developed, but this was broken by a harsh intervention by her money-proud father.
On Weyse the grief of his failed hopes worked with force and provoked a dark melancholy that led to him remaining unmarried all his life.
It was not until May 1807, with the performance of Mozart’s Don Juan, which then crossed the Danish scene for the first time, that the ghost scene brought him to new life.
He again took up The Sleeping Draught, which on April 21, 1809 was received with stormy applause.
The piece became “a box piece” and has been on the repertoire for many years. Until May 30, 1874, it has been performed 100 times.
Robert Schumann has referred to Weyse’s studies as originating from “an original spirit that is completely independent, perhaps only somewhat related to Beethoven”.
On organ, Weyse was a no less ingenious improviser.
Franz Liszt, who gave a concert in Copenhagen in July 1841, heard Weyse in Frue Kirke on the organ improvise a double fugue in 5/4 time, “which without exaggeration lasted about half an hour; he moved me to tears and enraptured me.
Never before has the organ unfolded in all its greatness and glory “.
Legacy
He was not only the great, learned composer but also the people’s singer in the noblest sense, for over his melodies rests something domestic, something peculiar Danish.
Of his contemporaries, Weyse was highly valued, not only as an artist but also as a human being; his genuine Danish mind, his noble way of thinking, and his warm heart seemed appealing to everyone he came in contact with, both older and younger, whom he gladly received in his hospitable bachelor’s residence, which for many years was in Kronprinsessegade, just opposite Kongens Have.
Letters
His entertaining letters, printed in two full volumes in 1964, give a good idea of his magnificent language sense, attentive gaze, harmless joke, and loving care of his friends.
Death
Ingemann has painted a beautiful picture of Weyse in his novel The Village Children as the old professor, and just as he slept gently and quietly, so too did Weyse die on the night between October 7 and 8, 1842, in the circle of his young friends without long illness.
Honor
His memory was honored at mourning parties in the Royal Theater, where Heiberg’s lovely prologue – with the well-known stanza “And he owned no other little ones” – was recited, and in the Music Association, where a cantata by H. Hertz (Henrik Hertz?) And J.P.E. Hartmann was played.
Also, while Weyse was alive, there was no shortage of external recognition. In 1816 he was given the title of professor, in 1830 he became a member of the Royal Academy of Music in Stockholm, in 1837 an honorary member of the Music Association and in 1842, at his 50th organ anniversary, an honorary doctor at the university. Weyse’s bronze bust, modeled by H.V. Bissen, was erected on Frue Plads in 1866.
Reference: Wikipedia article.
Symphony No. 1 in G minor
I. Allegro con spirito 00:00
II. Minuetto 5:41
III. Andante 11:16
IV. Vivace 15:57
In the video, the symphony is performed by the Royal Danish Orchestra conducted by Michael Schønwandt.
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Symphony No. 2 in C major, DF 118 (1795, rev. 1797)
I. Allegro con brio : 00:00
II. Adagio : 05:24
III. Minuetto : 13:42
IV. Finale : 18:20
In the video, the symphony is performed by the Royal Danish Orchestra conducted by Michael Schønwandt.
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Symphony No. 3 in D major, DF 119 (1795, Rev. 1800)
I. Allegro con brio : 00:00
II.Andante maestoso : 05:45
III. Minuetto : 12:48
IV. Allegretto : 17:12
In the video, the symphony is performed by the Royal Danish Orchestra conducted by Michael Schønwandt.
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Symphony No. 4 in E minor, DF 120 (1795)
I. Grave – Allegro : 00:00
II. Largo : 06:15
III. Minuetto : 14:02
IV. Allegro moderato e con energia : 20:17
In the video, the symphony is performed by the Royal Danish Orchestra conducted by Michael Schønwandt.
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Symphony No. 5 in E-flat major, DF 121 (1796)
Mov.I: Maestoso – Allegro con brio 00:00
Mov.II: Andante 10:03
Mov.III: Menuetto 17:49
Mov.IV: Finale: Allegro con spirito 22:49
In the video, the symphony is performed by the Royal Danish Orchestra conducted by Michael Schønwandt.
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Symphony No. 6 in C-minor, DF 122 (1798)
Mov.I: Maestoso – Allegro con brio 00:00
Mov.II: Largo 08:36
Mov.III: Menuetto 15:36
Mov.IV: Vivace 20:36
In the video, the symphony is performed by the Royal Danish Orchestra conducted by Michael Schønwandt.
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Symphony No. 7 in E-flat major, DF 123 (1799)
Mov.I: Allegro 00:00
Mov.II: Andante 07:46
Mov.III: Menuetto 16:52
Mov.IV: Finale: Allegro 21:57
In the video the symphony is performed by the Royal Danish Orchestra conducted by Michael Schønwandt.
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Sovedrikken (The Sleeping Draught), singspiel in two acts
The First performance took place on 21 April 1809 at the Royal Theatre in Copenhagen.
The libretto is by the Danish poet Adam Oehlenschläger who adapted the wildly popular German C.F. Bretzner’s lyrics “Der Schlaftrunk”.
The following performance of The Sleeping Draught is by the Danish Radio Sinfonietta and Sokkelund Sangkor (choir) conducted by Giordano Bellincampi.
Soloists are: Guido Paevatalu, Eva Hess Thaysen, Elsebeth Dreisig, Gert Henning-Jensen, Michael Kristensen, Johan Reuter, Tina Kiberg, Stig Fogh Andersen, and Sten Byriel.
Overture Video
Act One
No. 1 Quintet “Amor, Amor!” Video
No. 2 Quintet “Hr. Advokaten” Video
No. 3 Romance “De klare bølger rulled” Video
No. 4 Aria “Fra Orient til Occident” Video
No. 5 Quintet “O, hr. Brausse” Video
No. 6 Aria “Salig, Venus, ved din lue” Video
No. 7 Arietta “Amor, Bacchus! Synk herned” Video
No. 8 Aria “Kærlighed er stærk som døden” Video
No. 9 Romance “Skøn jomfru! Luk dit vindue op” Video
No. 10 Arietta “For Dem mit hjerte bruser” Video
No. 11 Finale “Venlig, mildt din blege læbe” Video
Act Two
No. 12 Arietta “Op! Munter til arbejd’ alt solen opstår” Video
No. 13 Chorus “Rask er vandmøllerens liv” Video
No. 14 Aria “Elskov! Fryd for skønne sjæle!” Video
No. 15 Duet “En mand mistænker ej i løn” Video
No. 16 Cavatina “Elskovsskønne, gyldne dage” Video
No. 17 Quartet “O, mon ikke vore tårer” Video
No. 18 Aria “Ej manden alene for alle ting står” Video
No. 19 Romance “Det blanke sværd på væggen hang” Video
No. 20 Romance “Knap klokken slog det tolvte slag” Video
No. 21 Finale “Hvad ser jeg? O himmel!?” Video
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Easter Cantata No. 1 – Hil dig, hil dig, livets morgenrøde (1821)
Libretto by Thomas Thaarup.
The following video performance is by the Tivoli Symphony Orchestra and the Tivoli Concert Choir conducted by Michael Schønwandt. Soloists are Bodil Arnesen, soprano I – Dorthe Elsebet Larsen, soprano II – Kirsten Dolberg, contalto – Peter Grønlund, tenor – Stephen Milling, bass.
Chorus: Hil dig, hil dig, livets morgenrøde (Allegro con spirito) 00:00
Terzetto: Himmelskøn din stemme, Jesu, lød (Andante con moto) 05:09
Recitative: Sa hånligen lød Jesu fjenders stemme (Tenor) 07:58
Quintetto: Fromheds tunge sukke løde (Andante) 09:52
Chorus: Den stjerneløse nat indhyller jorden (Allegro con spirito – Adagio) 13:26
Chorale: Halleluja! Det er fuldbragt 17:42
Quartetto: Tegn pa jordens frelse, pa dens brøde (Andante con moto) 19:21
Chorus: Triumf fra Zion korsets banner vajer (Allegro con brio) 22:14
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Christmas Cantata No.3, DF 26 – Jubler, o jubler i salige toner (1836)
Libretto is by Caspar Johannes Boye.
The following video performance is by the Tivoli Symphony Orchestra and the Tivoli Concert Choir conducted by Michael Schønwandt. Soloists are Bodil Arnesen, soprano I – Dorthe Elsebet Larsen, soprano II – Kirsten Dolberg, contalto – Peter Grønlund, tenor – Stephen Milling, bass.
Chorus: Jubler, o jubler i salige toner (Allegro con spirito) 00:00
Terzetto: I Bethlehem hans vugge star (Poco andante) (soprano I, contalto, tenor) 02:38
Chorale: O himmelbarn med guddomsand 05:26
Duetto: Du de vise kom at hylde (Andantino) (soprano I, tenor) 06:53
Quintetto: Eder er i dag en frelser fød (Andante maestoso – Allegro moderato – Tempo primo) (Soprano I & II, contalto, tenor, bass) 09:09
Quartetto: Halleluja, vi hore det evangelium (Andantino) (Soprano I, contralto, tenor, bass) 14:50
Chorus: Jubler, o jubler i salige toner (Allegro con spirito) 17:45
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Allegro di bravura in A minor, Op. 50
In this video the piece is performed by pianist Bohumila Jedlickova.
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Piano Sonata No. 8 in G minor (c.1794)
The movements are:
00:03 I. Allegro agitato
04:47 II. Grave
08:43 III. Allegro assai
The video performance is by pianist Thomas Trondhjem.
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Songs
“Den signede dag med fryd vi ser – 1826”
Text by N.F.S. Grundtvig.
The video performance is by Danmarks Radios Pigekor conducted by Tage Mortensen.
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“Nu ringer alle klokker mod sky”
Text by B.S. Ingemann.
The video performance is by Danmarks Radios Pigekor conducted by Tage Mortensen.
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“Velkommen Igen Guds Engle Små”
The video performance in Aarhus Domkirke is by Skt. Clemens Drengekor conducted by Carsten Seyer-Hansen.
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“Julen har bragt velsignet bud”
Text by B.S. Ingemann.
This live video performance is by the Danish National Concert Choir conducted by Phillip Faber.
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“Natten er saa stille”
The video performance is by Aksel Schiøtz and the pianist Herman D. Koppel.
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“Kommer hid, I Piger smaa”
The video performance is by Aksel Schiøtz and the pianist Herman D. Koppel.
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