© Michel Cardin
The London Manuscript
Solo Sonata 15 in f minor
(Smith-Crawford 21)
The complete and updated version of 'London unveiled' by Michel Cardin can be downloaded as pdf files: 'London unveiled'
Here our discrepancies with the Smith-Crawford numbering system come to an end. The difference between the two systems is due to the fact that I have chosen for the moment to by-pass a fifth (and ultimate) duo-sonata in D minor, opting instead to combine it with the four others which will be presented at the end of this analysis, along with the incomplete sonata S-C 4 and the individual pieces.
“This tonality appears temperate and peaceful, while at the same time deep and oppressive, with a touch of despair giving the impression of mortal anguish, though in an highly excitable state. It truly expresses a bleak melancholy giving rise to shudders and tremblings in the listener.” This description of F minor by Mattheson would seem particularly à propos since this music expresses bravura of the most breathtaking vigour, in short a musical excitement causing an uninterrupted stirring of sombre musical ideas. The Dresden Manuscript contains the same sonata in its entirety from which one can, as is often the case, choose several interesting variants, especially for the sarabande. In the London Manuscript, this last is placed, astonishingly enough and following J.S.Bach's fashion, before the bourrée. From the Allemande onward, the chosen key causes unusual left hand positionings. One can imagine that the composer was experimenting with instrumental resonance, a unique relationship between his playing and the harmonic vibration from the wood of the instrument. There is, near the end of the composition, a cadential chord with a low contra E on the tenth course requiring an index finger bar that covers eighteen strings! This is one of those positions that would indicate clearly the use of a standard lute, as opposed to a theorbo-lute, as is also true of the Tenth Sonata S-C 15. This long suspended chord justifies Mattheson's description, causing indeed a 'shivering' sensation.
The subsequent Courrante (the same spelling appears in the Dresden Manuscript) has also an abundance of syncopated inner voices. In this case the writing causes enormous left-hand fatigue, induced by the flatted notes and the resultant need for constant barring. The courante emits a certain energy imbued with fatalism, the energy of despair, as it were. This sense of despair is equally present in the Sarabande, indicated as an adagio , a veritable cry from the heart as is also the case with the sarabande from the Eighth Sonata S-C 12. The principle theme reminds us of Bach and Schubert. We can detect once again an anticipation of the Classic style in the long pedal points that support the languidly flowing passage of thirds. Both the Bourée and the minuet, with their agitated sense of darkness, conform to the ideal of F minor. The indication Tempo di Menueto ascribed to the minuet is quite possibly intended to guard the performer from becoming unduly zealous in the pursuit of agitation. The same is true of the Gigue which nonetheless presents itself in terms of an attractive elegance. More so than ever the composer indulges in progressions of modulations to remote key areas, giving strong evidence of his desire to make of each sonata a unique statement, notwithstanding the discrete and conventional nature of the musical language. This he appears to do whilst making light of the technical difficulties frequently encountered in this music. We can well empathise with Princess Sophie Wilhelmine, sister of Frederick II of Prussia and student of Weiss, who opined that he "never had an equal and that his successors must remain content to imitate him".
Copyright © 1998-2006 Laurent
Duroselle, Markus Lutz
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