© Michel Cardin
The London Manuscript
Solo Sonata 18 in C Major
(Smith-Crawford 24)
The complete and updated version of 'London unveiled' by Michel Cardin can be downloaded as pdf files: 'London unveiled'
The solo sonata no 18 exists only in the London version (in a copyist handwriting), discounting the minuet and trio which can be found as part of another sonata in C in the Dresden manuscript, written in Weiss's hand. A copy of the minuet without the trio can also be found in the Munich manuscript. Mattheson described the key of C Major as "bold but willingly joyful and even tender when necessary" (see solo sonata 12).
The full noblesse of the Ouverture replaces, in this instance, the two more typical movements of the Weissian sonata: the allemande and courante. 'Ouverture a la francaise' would be an appropriate designation for this movement in slow-fast-slow structure. This orchestral sounding work could have come from the pen of Haendel. On the other hand, the rhythmic motif of the fast theme could be heard as almost identical to (albeit in Major) the thematic material of the preludes to Bach's suites no 1 and 3 for lute. (This is certainly not the only example of musical similarities between these masters of Leipzig, Dresden and London.) As is the case with the two aforementioned colleagues, Weiss demonstrates a total mastery of all facets of his art. His choice of developmental modulations and the balance of structure provide convincing, refined testament to the sensitivity of his approach. As usual, nothing has to be altered, though it might be necessary to exaggerate the dotted values of certain notes in the two slow sections, increasing thereby the majesty of the musical gesture. As one among many examples of polished writing, the hemiola superposed on normal rhythm before the return of the slow section constitutes a slowing of the intermediary line without a change in time signature, since the two other voices remain normally accented:
The Bourée (which becomes the second movement under the circumstances previously described) is extremely polyphonic while remaining essentially dance-like with a cantabile character. The initial melodic line anticipates the sarabande which will follow and one finds herein the echo effect that will become the official mainstay of the sonata no 20 S-C 26, a device that was to be used more systematically by Weiss during this stage of his development. These fragments, which are repeated here and there should not be seen as symptomatic of a paucity of imagination, or as the result of directionless improvisation. Rather, they could suggest a desire on the part of the composer to manipulate dynamic shadings, most particularly the Forte / Piano technique which was to become an essential ingredient of the classic style. In my opinion, the lutenist should treat these thematic repetitions as opportunities to create dynamic contrast, using the appropriate Baroque right-hand technique. Otherwise the subtleties of shading could become non-existent or severely weakened, or replaced by an overuse of rubato.
While reaffirming the practical superiority of tablature notation, it is at the same time interesting to note an example of the inadequacy of any notational system when it comes to creating a graphic realisation of the lute soundscape. The moment in question occurs at the end of the first part of the bourree, a musical gesture that could be notationally correct only if presented in a form of elaborate orchestral scoring. Even this ideal form of writing would not convey the effect that the sustained resonance tones have on the listener, an effect that allows one to reconstruct the aural image in his or her manner. These sequentially sustained harp-like tones bring to mind the reconstitution of melodic lines according to ones disposition. (See Appendix 1). This example would sound:
One notes that the A of the preceding measure, residing on a neighbouring string, will resonate during the last measure, leaving the listener the freedom to determine whether or not this straddling constitutes an appogiatura of the last G.
As usual, the sarabande occupies a central position in the sonata, this time being titled Aria, with a performance direction of un poco andante. This can also be seen as part of the classical temperament residing in the imagination of the composer. Another classical element can be found in the use of notated silences, a rarity in tablature scoring, used presumably to express a well defined stop in the musical line. The complete repetition of the opening theme just before the end of the piece serves as yet another precursor to the music of the Age of Enlightenment. The Menuet is unassumingly charming, leaving rhetorical flourish for the Trio which, while appearing suddenly in c minor, immediately transports the listener to the depths of morosity, albeit with a certain gracefulness. The Da capo repetition, as asked in the score, of the minuet seems by contrast light and playful. The concluding movement is a 9/8 Gigue, as opposed to one in 6/8, a feature that implies different phrase dynamics, to the point where the 9/8 flow is regularly interspliced with a 3/4 measure. Reminiscent of the Renaissance Canario, this delightful 'standardised hemiola' effect lends a certain joyous spirituality to this piquant final movement.
Copyright © 1998-2006 Laurent
Duroselle, Markus Lutz
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