Christoph Ernst Friedrich Weyse (1774-1842) - Sinfonie 7 (1799)

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Composer: Christoph Ernst Friedrich Weyse (1774-1842)
Work: Sinfonie 7 in Es-Dur (1799)
Performers: Concerto Copenhagen; Lars Ulrik Mortеnsеn (conductor)

Sinfonie 7 (1799)
1. Allegro 0:00
2. Andante 10:34
3. Minuetto, trio 18:48
4. Finale, allegro 23:50

Painting: Gustaf Boberg (18th Century) - Slaget på Reden (1801)
HD image: https://flic.kr/p/2qPZ8Ds
Painting: Christian Albrecht Jensen (1792-1870) - Christoph Ernst Friedrich Weyse (1832)
HD image: https://flic.kr/p/2qQ5DFD

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Christoph (Christopher) Ernst Friedrich Weyse [Weisse]
(Altona, nr Hamburg, 5 March 1774 - Copenhagen, 8 October 1842)

Danish pianist, organist, pedagogue and composer of German descent. He studied with his grandfather, a cantor in Altona, and in 1789 went to Copenhagen, where he studied with Johann Abraham Peter Schulz, and where he remained the rest of his life. After establishing his reputation as a pianist, he devoted himself to the organ. He was deputy organist (1792-94) and principal organist (1794-1805) at the Reformed Church, and then served as principal organist at the Cathedral from 1805 until his death, winning great renown as a master of improvisation. He had an unhappy love affair in 1801 and remained unmarried. In 1816 he was named titular professor at the University and was awarded an honorary doctorate in 1842, the year of his death. In 1819 he was appointed court composer. Through the court conductor Friedrich Ludwig Aemilius Kunzen, he became interested in a movement for the establishment of a national school of Danish opera, for which his works (together with those of Friedrich Kuhlau) effectively prepared the way. As a composer, he wrote numerous singspiele, Christmas carols, a setting of the Te Deum and of the Miserere, over 30 cantatas, and above all, lieder after poems by Matthias Claudius, Johann Heinrich Voss and Ludwig Christoph Heinrich Hölty. He also composed seven symphonies and numerous pieces for solo piano. A conservative by nature, he was rooted in 18th-century musical ideals, extending from Baroque to Classical but not beyond Mozart, and he did not sympathize at all with the new trends in Beethoven's works. He composed seven symphonies (1795-99) that demonstrate Joseph Haydn's influence, some of which were partly re-used for overtures and incidental music in his theatrical works. He remains best known for his fine songs though.