© Michel Cardin
The London Manuscript
Solo Sonata 16 in G Major
(Smith-Crawford 22)
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This grand sonata in G major differs from the previous fifteen by means of a non-standard beginning comprised of a prelude, toccata and fugue. It should be mentioned that, with the exception of two bars of the toccata which can be found in the 1769 Breitkopf catalogue, and the allegro (Moscow) this sonata exists only in the London Manuscript. There are eight movements in all, although in reality the first three constitute separate sections of larger overture movement. This compression of movements attenuates what could otherwise be perceived as an excessively lengthy eight-movement form. The concluding portions of all five subsequent pieces are duly signed S.L.Weis 1719. We note also that only one of the five copyists engaged for the London Manuscript has been used in the preparation of Sonatas 16 and 17.
Mattheson said of G major that it "possessed a strength of suggestive evocation, being the ideal key for a work imbued with vitality." It is difficult to find a better description of the sixteenth sonata with its strong evocative grandeur and light vitality; characteristics which are even more prevalent in this work than in the other G major sonata (solo no 4, S-C 5) of the London ms.
The Preludie begins with nine unmeasured chords, giving plenty of leeway for interpretational freedom. An abundance of arpeggios allows for a brilliant departure, announcing with a grand gesture the outline of the forthcoming fugue themes in addition to material from other movements. These 'nervous' arpeggios should not, in my view, go beyond a certain elasticity within a chosen rhythm. In any case these chord progressions are similar to those found in the preludes of solo sonatas 1 and 8 which are notated with values of crotchets and minims. The short development which follows is also similar to several other passages from preludes by Weiss who, as an announcement of the toccata and fugue, apparently wanted nothing more than a brief introductory passage to check the tuning of the instrument, a performance practice common to seventeenth century lutenists. One can enhance the resonance and richness of the apparent harmonic structure by slowing down the performance of these simple salvos of semi-quavers.
Where we might expect panache, the Toccata gives us instead an impression of solemn majesty, conveyed most effectively by the gravity and brilliance of the chosen harmony. In the Breitkopf catalogue the expressive marking is listed as Adagio. These two sections of the overture, the first frenetic and the second ponderous, lead us inexorably to the 'piece de resistance', the Fuga. This work, with its sense of magnanimous vitality concludes, nevertheless, with a return to a slow regal finale, in the tradition of the French Overture, indicated also as Adagio. The theme is reminiscent of similar melodic material used in one of the organ fugues by J. S. Bach, and also in the Prelude, Fugue and Allegro BWV 998 “for either lute or harpsichord”. In the case of the aforementioned work, clearly composed with lute technique in mind, Bach seems to follow the idiomatic model offered by Weiss, involving as it does the usage of long values for the theme, superimposed voices in medium durations and rapid arpeggiations in the development. In this particular case, however, Weiss remains deliberately restrained, calling for brief though jubilant arpeggiated sections. Bach would treat similar material with a view to maximising the musical importance of each and every section. A remarkable example of 'orchestral' colour gradation can be found between bars 129 and 137. An uninterrupted series of bass tones creates a progressive thickening in the sonority, each open string contributing a unique colour to the tonal palette. The ending of another chord progression involves the use of an interesting chromatic bass motion that extends to the last possible note on the fingerboard, a contra C#. The written repeats come as a bit of a surprise, repeat indications that lead me to question the significance of these markings which are often found in similar circumstances throughout the work of Weiss. Like Robert Donington, I would give as best explanation that they meant an optional repetition. If we try indeed to think the same way an amateur did in this time, we can imagine that a fugue could be often asked as an encore by the listeners, due to the complexity of the work and the greater difficulty for the auditors to remember the themes and counter-themes. We could then call this an ‘anticipated encore’!
As was the case in the thirteenth sonata, the courante (Cour : ) in this sonata is written in long phrases using repetitive, charming melodic cells that allow for pleasing modulations. In the Bouree certain harmonico-melodic formulae are revealed which anticipate the paysanne of The Infidel (solo sonata no 23, S-C 29). Certainly Weiss was not lacking in inspiration when composing in the style of a bourrée, a fact that is confirmed when one appreciates to the fullest the elastic ricochet of the quaver motion inherent in this movement. The bourrée was a dance form supposedly associated originally with the jumping movements of drunken dancers in the village feasts of the Auvergne who were said to be "bourré" or "stuffed/full". A petite reprise added by editorial decision would be welcome here. To give an idea of the frequency of use of these repetitions, it can be mentioned that of the eighteen pieces of sonatas 16 and 17, I personally make use of nine: six were indicated by Weiss while three are of my choosing. This practice of adding a petite reprise varies greatly from one sonata to another, and we can even sometimes avoid it if we feel like it. Preludes, fugues and toccatas are, for obvious reasons, not susceptible to this treatment. Among the other movements, some are possibly not immediately receptive to the addition of epilogues, while others benefit greatly by this extra weight in the musical discourse. In any event, this aspect of ornamented repetition is one of the most important elements of the Weissian sonata.
The Sarabande, presented by three voices in close position in the key
of the relative
minor has been subtitled un poco andante. The driving bass reminds us more of a march than
in the case with the usual sarabande. The first section, which should typically be one half the
length of the second, is in this instance almost of equal duration (20 bars as opposed to 21),
though it is true that the petite reprise does lengthen somewhat the second part. In addition,
this sarabande is much longer (at least in terms of the number of measures) than the others.
The rhythmic flow, and for that matter the entire atmosphere of the piece, depends greatly on
the personal choices made in the interpretation of the sign
which refers to upper appoggiatura, whether single or multiple (trills), slow or
fast and
used to indicate all of
the same in lower appogiatura. This notation is found in all of Weiss's tablature but the
attractiveness of this work will depend to an even greater extent than usual on the
interpretational decisions of the performer with respect to the ornamentation, even in the first
time through repeated sections. The dramatic ending necessitates, in my view, a very
emotional ornamentation treatment, that is: an unfurling of diminutions. The words used by
Mattheson to describe the key of E minor depict very accurately this particular sarabande
when he states "If this tone accepts with difficulty any added gaiety due to its profound sense
of introspective tristesse, one can nevertheless cultivate therein an element of hope. A certain
vigour would help greatly in this respect, although the desired luminescence must remain
unattainable".
The Menuet is thoroughly charming, showing to what extent the left hand slurs contribute to musical expression. The Allegro, presaging as it does the presto of the Celebrated Pirate (solo sonata no 22, S-C 28) is nothing short of a relentlessly mad race. Again, vitality is central to the description of this brilliant work, which is so stylistically linked to the Italian Baroque. The ones present at the 1987 LSA seminar in Raleigh will always remember the vertiginous interpretation of this work by Nigel North at his no less incredible Baroque lute concert, a magical state of grace.
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Duroselle, Markus Lutz
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