Composer: Christoph Ernst Friedrich Weyse
Works: Symphonies Nos. 1-7
Performers: Royal Danish Orchestra, Michael Schønwandt (conductor)
Recording: Recorded 1993/4, Copenhagen, Denmark
Label: DaCapo/Marco Polo
The symphonic output of Christoph Ernst Friedrich Weyse, a pivotal yet often overlooked figure in the transition from the late Classical to the early Romantic period, receives a commendable full recording in this three-disc set. Weyse, born in 1774 in Altona, Denmark, was significantly influenced by the musical traditions of nearby Hamburg and the teachings of his mentor, L.A.P. Schulz. Composed between 1795 and 1799, these symphonies reflect a deep engagement with the Germanic symphonic idiom, particularly that of Haydn and Mozart, while simultaneously revealing Weyse’s unique voice that would later struggle against personal and professional setbacks.
The performances by the Royal Danish Orchestra, under the adept direction of Michael Schønwandt, bring an admirable clarity and robustness to Weyse’s scores. Each of the symphonies demonstrates a distinct character, with Schønwandt’s interpretative choices highlighting the composer’s nuanced understanding of orchestral color. For instance, in Symphony No. 1 in G minor, the Allegro con spirito opens with a vigorous rhythmic motif that captures the tension inherent in the minor key. Schønwandt navigates the shifts between energetic and more relaxed themes with a deftness that allows the listener to appreciate the intricate interplay of winds and strings, particularly in the elegant Minuetto that follows.
The recording quality is commendable, with a vibrant acoustic that captures the full breadth of the orchestra’s sound. Each instrument is clearly delineated, allowing for an appreciation of Weyse’s orchestration. The addition of clarinets in later symphonies, particularly in Symphony No. 5 in E flat major, is well-executed, as the ensemble brings a warmth and depth to the sound palette. The engineering provides a balanced mix that does justice to the subtlety of the Largo in Symphony No. 4, where the strings and winds weave a tapestry of sound that recalls the lyrical elegance of Mozart.
Weyse’s symphonies also reveal an evolving compositional style. The earlier works, such as Symphony No. 3 in D major, exhibit a charming but somewhat mechanical quality, with thematic material that, while engaging, lacks the emotional depth found in later works. By the time we reach Symphony No. 5, Weyse’s voice has matured, displaying a freer flow and greater expressivity. The Maestoso – Allegro con brio that opens this symphony is a striking contrast to his earlier efforts, featuring a majestic introduction that gives way to a more dynamic thematic development. Schønwandt’s interpretation emphasizes the thematic interplay, allowing the listener to appreciate the rich harmonic language that Weyse employs.
The final two symphonies, while reverting to a more traditional style, still exhibit moments of inventive orchestration and thematic creativity. Symphony No. 6 in C minor, marked by its gravity and intricate counterpoint, showcases Weyse’s mastery of the classical form, yet it is the Seventh Symphony in E flat major that encapsulates a confident simplicity, unencumbered by the struggles of earlier compositions. Here, Schønwandt’s direction highlights the lyrical qualities of the music, particularly in the second movement’s variations, where the warmth of the orchestral sound envelops the listener.
The combination of historical context, thoughtful interpretation, and high-quality recording places this set of Weyse’s symphonies as a significant addition to the classical repertoire. It reaffirms Weyse’s place among the noteworthy composers of his time, shedding light on a body of work that deserves greater attention. The Royal Danish Orchestra’s robust yet nuanced performances under Schønwandt’s guidance reveal the intricacies of Weyse’s craft, making this recording a valuable resource for both scholars and aficionados of early Romantic symphonic music.
