Sophia Maria Westenholz

She became the second wife of the Kapellmeister Carl August Friedrich Westenholz in the summer of 1777; they had eight children together. Wolf is quoted as saying “Mrs. Westenholz's manner is that of the great Bach in Hamburg.” In a review of his six sonatas, which Wolf had dedicated to Sophie Westenholz, Cramer also praised the balance in the musical expression of her playing. When Carl Westenholz died in 1789, Sophia received the title of Kapellmeisterin at Ludwigslust. She taught music to the Ludwigslust princesses and composed and performed her own works at court. In addition to her reputation as a pianist, she also became known for performing as a glass harmonica player in various concerts. After 1800, she began focusing on cultivating compositions, with several of her works appearing in print by 1806. She was described by Johann Friedrich Reichardt as being 'one of the leading musicians of Europe’.

Westenholz drew inspiration from the works of Johann Abraham Peter Schulz and Johann Friedrich Reichardt and wrote songs in both strophic and folk-song style. Her works include: Lieder with Unadorned Melodies: • Das Grab • Die Erscheinung • Frühlingsreigen • Meine Wünsche Lieder With Ornamented Melodies: • Das Glücke der Liebe • Huldigung • Lied der Liebe Lieder That Represent the Early Romantic Style: • Morgenlied • Weine nicht, es ist vergebens • Trost der Hoffnung • Der Bund