ey WHE KEY MASTERPIE CD 1 7 aftensange (7 Evening Songs) (1838). 17:50 11 No. 1 Der står et slot i vesterled * . 2:33 Symphony No. 7 in E fl at major, DF 123 (1799) . 28:48 12 No. 2 Dagen går med raske fj ed ** . .2:13 1 I Allegro . 7:48 13 No. 3 Til vor lille gerning ud *. 3:02 2 II Andante. 9:06 14 No. 4 I fj erne kirketårne hist **. 3:28 3 III Minuetto . 5:05 15 No. 5 Bliv hos os, når dagen hælder **. .3:13 4 IV Finale. Allegro . 6:50 16 No. 6 Den skønne jordens sol gik ned ** . .1:33 Royal Danish Orchestra; Michael Schønwandt, conductor 17 No. 7 Den store, stille nat går frem * . 1:49 (from 8.224014, Symphonies Nos. 6-7) * Else Torp, soprano; ** Mathias Hedegaard, tenor; Marie Rørbech, piano (from 8.224714, Morning and Evening Songs) Th ree songs. .7:21 Total: 76:58 5 ”Hyrden græsser sine får” from Festen på Kenilworth (1836). .3:15 6 ”Skønjomfru, luk dit vindue op” from Sovedrikken (1809) . .2:14 7 ”Natten er så stille” from Prinsesse Isabella (1840) . .1:52 CD 2 Mathias Hedegaard, tenor Danish National Chamber Orchestra; Adam Fischer, conductor Symphony No. 1 in G minor, DF 117 (1795, rev. 1806). 21:02 1 I Allegro con spirito . 5:45 (from 8.226012, Serenades and Romances) 2 II Minuetto . 5:33 3 From Festen på Kenilworth III Andante . 4:41 4 IV Vivace. 5:04 8 Zigeunerdans (Gypsy Dance) . .4:17 Odense Symphony Orchestra; Ole Scmidt, conductor Royal Danish Orchestra; Michael Schønwandt, conductor (from 8.224012, Symphonies Nos. 1-3) (from 8.226047, Music Inspired by Hans Christian Andersen) Piano Sonata No. 6 in B fl at major (1799) . 18:42 8 Etudes op. 51 (1831) . 19:45 5 No. 1 Prestissimo, C major. 1:46 9 I Andante (8 variations). .13:14 6 No. 2 Allegro moderato, C minor . 2:03 10 II Rondo. Scherzo . 5:28 7 No. 3 Allegro, D fl at major. 2:54 Th omas Trondhjem, piano 8 No. 4 Allegretto, C sharp minor . 2:43 (from 8.224140, Piano Sonatas) 9 No. 5 Allegro con spirito, D major . 2:36 10 No. 6 Allegro con brio, D minor . 2:06 11 No. 7 Allegretto, E fl at major . .2:41 12 No. 8 Vivace, E fl at minor . 2:56 Bohumila Jedlickova, piano (from DCCD 9307, Etudes for Piano) Dacapo is supported by the Danish Arts Council Committee for Music From Sovedrikken (Th e Sleeping Draught) C.E.F. WEYSE His education was left in the hands of his 13 Overture . 4:38 maternal grandfather, who was a precen- Danish National Chamber Orchestra; Giordano Bellincampi, conductor tor and church musician. In time it became (from 8.224149-50) Piano virtuoso, court composer, organist, necessary for the boy to have a real music improviser, gourmand, humorist and celeb- teacher, and his grandfather approached Christmas Cantata . 24:13 rity – Christoph Ernst Friedrich Weyse was Bach’s son, the aging Carl Philipp Emanuel 14 No. 1 Coro: Allegro con spirito . 2:35 one of the most remarkable fi gures Denmark Bach, who lived in Hamburg, but he did not 15 No. 2 Terzetto (SAT): Poco andante . 2:49 in the fi rst half of the nineteenth century. wish to be disturbed on the day Weyse and his 16 No. 3 Corale . .1:27 For the rest of the world he has always been grandfather came to visit him. Th e next pos- 17 No. 4 Duetto (ST): Andantino . .2:17 something of a secret, for Weyse went on 18 No. 5 Quintetto (SSATB): Andante maestoso – sibility was Copenhagen, where the German Coro. Allegro moderato – Tempo primo *. .5:41 only one journey in his life: the journey from composer J.A.P. Schulz was Royal Conduc- 19 No. 6 Quartetto (SATB): Andantino . 2:55 his birthplace Altona in Holstein to Copen- tor. And he said yes. In 1789 the 15-year-old 20 No. 7 Coro: Allegro con spirito – Moderato – Andante maestoso. .6:31 hagen. Th e sea voyages left him with such Weyse came to Copenhagen, where he lived Bodil Arnesen, soprano; * Dorte Elsebet Larsen, soprano; Kirsten Dolberg, alto; a phobia that afterwards he never travelled in Schulz’ home for the next three years. Peter Grønlund, tenor; Stephen Milling, bass farther from the Danish capital than a horse As early as 1792 the 18-year-old Weyse Tivoli Symphony Orchestra and Concert Choir; Michael Schønwandt, conductor and carriage could take him in a day. became the organist at the German Re- (from 8.224049, Cantatas) Instead people came to Weyse. He made formed Church in Copenhagen. In 1805 he the acquaintance of among others Liszt, Total: 69:38 went on to become organist in Copenhagen Moscheles and Clara Schumann; and in a Cathedral, one of the country’s fi nest posts way also of Mozart – it was the fi rst Danish for a musician. In 1816 he was granted the perfor mance of Mozart’s Don Giovanni that honorary title of professor, and in 1819 he put Weyse on his feet again after a life crisis was appointed Court Composer. Weyse was and prompted him to compose again. one of the country’s leading cultural per- Weyse was born in 1774 in Holstein, sonalities, an equal of the two contemporary which belonged to the Danish Crown. bachelor geniuses Søren Kierke gaard and He came from a talented and musical Hans Christian Andersen. bourgeois family, and at a very early age he In 1801 things had in fact looked black. was admired for his abilities as a harpsi- Weyse was struck by a depression after chordist. Little “Ernst” Weyse was also a the rich man’s daughter Julie Tutein broke splendid soprano who sang solo at many off their engagement. In the time after the church events. rupture he was in his own words “sick of 5 art, myself and all of life, continued with knew of the few minor-key symphonies by solo and ensemble numbers and learned Another genre that fl ourished late in my business quite mechanically to earn my Haydn and Mozart. Th e Seventh Symphony fugues. Th e cantata is a wonderful mixture Weyse’s oeuvre was songs. Even before he bread and in the most literal sense led a from 1799 is a much more clarifi ed work in of simplicity and ingenuity. came to Copenhagen he had written songs purely vegetative life.” E fl at major. Here there is no Sturm und In his younger days Weyse wrote a large in the new völklich style that J.A.P. Schulz His great comeback was sparked off in Drang, but a serene Classicist calm. Its number of harpsichord pieces in the style represented. Now he took up the genre 1807, at the Royal Danish Th eatre, when qualities were recognized abroad, for the of his models C.P.E. Bach and Haydn, again and crafted his songs to the utmost Weyse attended the fi rst Danish perform- symphony was published in Vienna in 1803. including eight sonatas from the 1790s. perfection. His Morning and Evening ance of Mozart’s opera Don Giovanni. In Denmark it was only played twice, the Th e Sixth Sonata is one of the fi nest. It Songs to texts by the poet-pastor B.S “In the Ghost Scene I was shaken to the last time shortly before Weyse’s death. consists of a large variation movement and Ingemann enjoy a special status in Danish marrow, but the shaking was benefi cial, it As Court Composer – the last in the his- a highly inventive fi nal movement in sonata music. Th ey were written for schoolchil- awakened my genius, which began to stir its tory of Denmark – Weyse wrote operas and form, full of unexpected idea and pianistic dren, but quickly became a core group in wings more mightily than ever,” he wrote. Singspiele for the Royal Th eatre. Th e Feast effects. Weyse’s abilities as a harpsichordist the Danish hymn repertoire. “I can assure Now he could complete his Singspiel Sove- at Kenilworth (1835) was his test of the (and later pianist) also shine through in his you that I have shaped the melodies very drikken (Th e Sleeping Draught), with a text young Hans Christian Andersen’s abilities Etudes. Th ey were written after a pause in much con amore, since I considered that by the national poet Oehlen schlæger, and as a dramatist after the novel by Sir Walter piano composition of over 20 years, and the you had been so particularly fortunate in the premiere in 1809 was one of the great Scott. Th e gap between Andersen’s and occasion was the concert visit of the virtuoso expressing in them the special inwardness successes of the Danish Golden Age. Weyse’s age and status seemed unbridge- composer Ignaz Moscheles to Copenhagen in and artless warmth of childhood”, Weyse Th e years of Weyse’s youth suddenly able, but Weyse insisted on giving Andersen 1829. Th e two met several times and appear wrote to Ingemann and emphasized: “Such seemed far away, and stylistically, his seven the chance. And Andersen idolized Weyse to have admired each other. Moscheles was beautiful poems compose themselves. Th e symphonies from the years 1795-99 soon for the rest of his life, even though he was able to shift Weyse’s music in a more up- question is therefore whether it is I who began to seem like something from a dif- well aware that it was the music, not the text to-date direction.