© Michel Cardin
The London Manuscript
Solo Sonata 2 in D Major
(Smith-Crawford 2)
The complete and updated version of 'London unveiled' by Michel Cardin can be downloaded as pdf files: 'London unveiled'
The seven constituent movements of the second sonata are also scattered throughout six different cities in Europe. When the lute is tuned to a tonality that is far removed from the basic d minor tuning, there is a marked change in the melodic possibilities available due to the different distribution of open strings in the bass. One might assume that this would serendipitously inspire unforeseen scalar configurations in the new key. Weiss was fond of the colourful modulations that occur when one explores the beautiful inner timbres of the instrument while using, for example, the leading tone in the lower register. The key of D major (“... naturally strong and wilful, being perfectly adaptable to the brilliant expression of all things amusing, martial and happy” - Mattheson) is very different from F major. Weiss seems to agree, because the Prelude is unrelieved by occasional sweetness or respite, preferring to remain brilliantly and unambiguously forceful.
As for the Sonata no 1, alternate movements are to be connected with the Sonata no 2: The gavotte and double following in the London version, which will be discussed in the next section, and a chaconne ending the Warsaw copy. Weiss’s handwriting in London can be found in the allemande, the first half of the courante, a segment of the sarabande, and the minuet and gigue.
If the allemande (Allem: ) is frail and restrained, it nonetheless adheres to the character of its tonality because, as stated by Mattheson, “a great delicateness can be summoned during calm moments of D major”. The contrast between prelude and allemande is clear and natural. The courante (Cour:) is unusual from two points of view. It is written in semi-quavers, not in the more habitual quaver notation. Secondly, it is a virtual tour-de-force for the ring finger of the right hand, providing ample evidence that Weiss used this finger regularly, in stark contrast to the practice of his contemporaries. This technique permits the use of continuous arpeggiation in the courante. The Bourée retains a dynamic, festive quality while the sarabande (Sarab:) offers languishing chords with sensitive appoggiatura followed by a second, more despondent section. The minuet (Men: ), as brief as it is carefree, is quickly superseded by a Giga that conveys the more traditional aspects of D major.
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