© Michel Cardin
The London Manuscript
Solo Sonata 25 in F Major
(Smith-Crawford 31)
The complete and updated version of 'London unveiled' by Michel Cardin can be downloaded as pdf files: 'London unveiled'
This sonata does not exist in other manuscripts. Variants of the allemande and gigue can be found, nevertheless, in the two first sonatas of the Dresden manuscript. The gigue of the Dresden ms contains a surprising mixture of identical measures and measures that differ in the first part, the second part being quite different after eight bars. In disagreement with D.A. Smith, I feel that this sonata is quite unified and that the bourree placed after the gigue is not really a Bourree II, rather an isolated work. This is due to lack of continuity with the preceding bourree. The dissimilarity is heightened by the difference in speed and by the inability to logically connect the bourrees in a I-II-I structural alignment.
Again, the spirit of F major suits this sonata very well. The Allemande is highly reminiscent of the other F major allemandes found in the volume, the only possible exception being the one contained in The Celebrated Pirate. This invites speculation as to whether Weiss may have simply written extensively in the idiomatic key of F major before distributing the works among the sonatas of the London manuscript. This tonality is to be found at the beginning, middle, and end of the collection in works that are very similar, betraying a close proximity in their dates of composition. The Allegro, which replaces the courante, seems to indicate the possibility that it is in reality a duo, yet it maintains full integrity as a solo work. In this respect, it is similar to the courante of the fourth solo sonata S-C 5 in G major. This work does not seem to have been placed gratuitously as a second movement, appearing after the allemande with a duration that does not suggest a concluding movement. It seems to have been deliberately disposed in the manner of a work for lute and flute. This Allegro features a lively discourse between major and minor modes, which will become a typically Mozartean way of proceeding. One also finds at this point two measures that are identical to the middle theme of the allemande of the third ‘cello suite by J. S. Bach.
The Bourée is as playful as many of the others and it follows quite logically the Allegro by virtue of similar thematic structures. This unity within the sonata is maintained through to the gigue. As is often the case with Weiss (see for example the bourree of the sixth solo sonata) this bourree would appear at first glance to be somewhat mediocre, lacking imagination. There are even those who believe the piece to be the work of another author. Usually this opinion is hastily formed through an initial sight-reading session. After repeated performance at the proper tempo the bourree comes alive with a simple though rich and balanced texture. It must be stated that the forward motion of Weiss’s phrases, to say nothing of accent distribution and harmonic subtleties will remain obscure to those who have not attained a certain technical virtuosity. At a certain point one becomes aware of an essential distinguishing characteristic between the music of Bach (surely a reference point for all discussions on Western art music) and that of Weiss. Whereas the music of Bach remains inherently logical regardless of tempo, one must intuitively grasp the musical pulse of a piece by Weiss. This is also true in the case of Vivaldi, although in his case it was easier to discern about five decades ago. This accessibility of understanding could explain in part the general preference for the music of Bach. Musicologists should develop on this comparative study since Weiss must be understood not only from the perspective of his instrumental writing, but also from the standpoint of his compositional method.
To return to the bourree in question, misunderstandings occur even in what could appear to be errors of notation. (This is typical of certain contemporary editors of guitar music.) Once again, a proper performance at the correct tempo with proper accentuation and intonation reveals the bourree to be completely balanced and error-free. Resplendent with beautiful rising arabesques, the bourree is also characterised by an interplay of accented tones erupting in three successive voices, surely a Weissian subtlety of the highest order:
A staccato technique becomes even more important here than in the case of the Allegro, with certain notes requiring an extremely detached technique. This piece also suggests the possibility of repeated sections entirely in the style of the doubles. The two minuets are also of more interesting character than what would appear to be the case on first encounter. The notion of thematic unity in the sonata is reinforced through the use of motifs that are found in the bourree, though a sarabande is conspicuous by its absence. The Menuet 2do (secundo), presented in the relative minor, seems to be a replacement for the sarabande, having as it does, almost twice as many measures as the first Menuet. This points to another possible difference between the music of Bach and Weiss. In the developments of the second section the Weissian approach seems to have as much melancholy but less Lutheran austerity than is the case with Bach. Astonishing modulations follow one another, within phrases that meander mysteriously, breaking off in full development. There is nevertheless a very real sense that the musical gestures are cohesive, strong in both the poetic and structural senses of the word. The Gigue is in ternary metre, giving a sprightly motoric rhythm with beautiful singing bass lines occurring in a hopping rhythm.
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