© Michel Cardin
The London Manuscript
Solo Sonata 4 in G Major
(Smith-Crawford 5)
The complete and updated version of 'London unveiled' by Michel Cardin can be downloaded as pdf files: 'London unveiled'
As in the case of the Sonata no 3, the Sonata no 4 is not autograph copy, except for a few corrections here and there. It is a unique and complete version, rendering moot any comparative analysis or search for additional movements, as was the case, for example, in the first and second sonatas, excepting of course the two first bars of the allemande, present as it is in the 1769 Breitkopf incipit catalogue. The fourth Sonata is found in close proximity to an Allegro and a Courente Royale in G, it is true; but unlike the earlier sonatas just mentioned, the stylistic continuity that might link these three pieces is missing.
The opening notes of the prelude bear a striking resemblance to those of Bach’s first suite for solo cello (also in G major), as does the gigue to Bach’s third partita for solo violin. Near the end (not at the beginning!) of the bourree there is a surprising allusion, we believe, to the Harmonious Blacksmith’s theme used also by Haendel (but not from him either) in his fifth harpsichord suite.
The Prelude, then, reminds us of Bach in several aspects with the
exception of its
size. Whereas Bach insists upon fewer yet grander works in which he explores the musical
possibilities of a single theme, Weiss is economical in the exploration of a theme but is the
writer of more improvised preludes in the sonata/suite/partita format. Weiss followed his
usual practice (except once) of omitting bar-lines although the beat is quite regular; the
metrical unit being the quaver which would suggest a moderate speed. Following the prelude
is an elegiac and meditative Allemande distinguished by the frequent usage of the high
register at the beginning of a phrase. The courante (Cour: ), with its supple arpeggios,
offers
yet another resemblance not of theme but of overall workmanship, this time to Vivaldi. The
famous prolonged modulations of the ‘red priest’ are found from beginning to end. As we
have come to expect with Weiss, it is the Bourée that follows the courante and not
the
sarabande. His brief and melodious phrases are varied in spite of their identical openings :
.
The Sarabande resolutely maintains a “lively and
evocative spirit”, both
characteristic of the key of G Major. The Menuet itself is so lively that, in our
opinion, the
music is better served by a faster tempo. The soprano and bass voices joyously rebound by
means of close entries. The Gigue maintains the same exuberance until the end and lends
itself even more to ornamented repetitions. The arabesques thus added augment its panache
as much as its conclusive character.
Copyright © 1998-2006 Laurent
Duroselle, Markus Lutz
A partir du 22 Novembre 1998 les statistiques sont aussi suivies par
Consultez les