© Michel Cardin
The London Manuscript
Solo Sonata 21 in c minor
(Smith-Crawford 27)
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This sonata can also be found in the Dresden and Salzburg manuscripts, without the prelude, which is found here in Weiss’s autograph. The sarabande is also missing in the Salzburg ms, replaced by another one. This version has two supplementary movements added to it. The gavotte and rigadoon can also be found in the Munich ms. The seventh and eighth movements are, in reality, two constituent parts of a larger whole, a situation similar to that found in the solo sonata no 17, S-C 23.
In his meticulous description of C minor, Mattheson states that "the tone is charming though rife with sadness. This first quality is nonetheless always dominant. Unless the work requires a more soporific interpretation, it would not be inappropriate to play it in a lively manner." Other C minor works contained in the London Manuscript include a fantasia and the fifth sonata, S-C 7. A confident liveliness is declared by all three works, but only the sonata no 21 seems to be imbued with more charm than solemnity.
Indeed, even the Praelude, which is in the same improvisatory spirit as the analogous movement in the sonata no 20, is characterised by a pointedly dramatic discourse. A rising wave of arpeggios is presented, one which begins in the most sombre of moods, rising steadily towards the light, seemingly questioning life itself. The strong quill of Weiss, imposing and impressive to the eye, is mirrored in the flame of musical expression, revealing the full volcanic temperament of the genius at work. This prelude is unmeasured except, curiously enough, for one bar. At the beginning, it would appear that the composer wished to show the desired accentuation for the two initial arpeggios that surround an endearingly exclamatory seventh chord. If inclined to seek thematic associations, one can hear the beginning of the famous Bach bourree from the first lute sonata (BWV 996), outlined at the end of the prelude.
As is the case with the Salzburg ms, the Allemande is sub-titled andante. It is possible to feel, exactly as stated by Mattheson, that the inherent sadness of the tonality is carried away by the more charming aspects of the musical discourse; always present but at a lower level of importance. This remains true of all following movements – an aura of sadness is lightened by fluid, serene melodic tunes. The ‘notes inegales’ approach is the required procedure for performance of this attractive Gavotte, reminiscent as it is of the 17th century French lute style. Confirmation of the composer’s intentions in this regard could be found in the usage of ties from weak beats to strong in certain measures. After comparing sources, one notes that for performance the Dresden version can be chosen for one measure of the principal theme due to a special richness of harmonic treatment. Aside from a few of these isolated moments, which seem to be born of a desire to improve the product (as will be seen in the allemande of The Celebrated Pirate), the overall impression remains that the London ms is the most carefully worked out of all versions, including the Dresden, especially at the level of harmonic detail and instrumental liaisons.
The Rondeau, which is evocative of certain Lully and Monteclair melodies, is structurally identical to the rondeau of sonata no 20, containing three sections with Da Capo repetitions of the theme. Here again we encounter the notion of melancholia being surpassed by musical charm. The audacious rhythmic leaps of the bass voice in the second part are noteworthy. A Weiss sarabande truly requires a high degree of reflective thought. From this rough outline, the performer is invited to cautiously bring forth a musical fruition. One is required to elucidate a coherent, eloquent musical discourse within the constraints of a deeply meditative atmosphere, a process which leads ultimately to the hidden truth revealed by correct accentuation and imaginative ornamentation. Indicated here as Sarabanda, the piece is in the relative major of C minor, E flat major, which Mattheson describes as "corresponding well with serious subjects, favouring an expression of pathos", a remarkably accurate summation. Moreover, this sarabande provides an excellent vehicle for the expression of beautiful colourings, notably during the recurrent middle register theme with its interval of the major seventh on a dominant pedal. This is all presented, of course, with a certain appropriateness of balancement. This theme stirs the poetic imagination, with the passage of time seemingly arrested by the repetitious fraying of melodic cells. The Sarabandes reveal the musically contemplative aspect of Weiss’s character.
Certain writing techniques found in this C minor sonata, particularly in the sarabande
and La belle Tiroloise, are similar to those found in sonatas nos 22 and 23, giving fairly
convincing evidence, in my opinion, of chronological closeness, matching the textual
proximity of the works as found in the manuscript. The feverish Menuet stands out from
the
other movements with its wilful, even obstinate musical phrases while maintaining a
‘hummable’ lyricism that is easily retained in the memory of the listener. As mentioned
earlier, the Riguadon and La belle Tiroloise form part of a
larger unit, the latter being, for all
practical purposes a second rigadoon, with a clear Da Capo indication for the first. This
dance movement is closely related to the gavotte, through similar accentuation and leaping
motion and appears for the first time in the London Manuscript, although another variant
appears in the Salzburg ms with a different spelling, Rigedon to be precise. (Dresden and
Munich manuscripts list it as Rigaudon). Our Tiroloise is listed as an Angloise
in the Dresden
and Salzburg ms, a bit surprising considering the rhythmic
which substitutes for the more typical
of the angloise. The title is quite appropriate, however, since the
numerous trills and double mordents call to mind the Tyrolian yodel, accompanied in this
case with an ‘alpine bagpipe’ in the form of a bass pedal note. The nature of the theme
necessitated a more elaborate first section than that usually found in this type of composition.
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