© Michel Cardin
The London Manuscript
Solo Sonata 6 in E flat Major
(Smith-Crawford 10)
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The tonality of E flat major officially “conveys more serious subject matter and favours the pathetic in its expression”. However, with the exception of a somewhat strained sensation of tonal colour, we have to admit that this sonata is energetic and versatile, even sometimes luminous. We have here the only existing version (except the courante, in the last Dresden sonata, concordance which is not mentioned in the Smith Critical Commentary). Another choice has to be made at this point. We have here two preludes, the second of which is a short simple variant of the first, this one being broad and powerful. Since one of the two must be dropped in a standard performance of the sonata, it would seem preferable to retain the first as a complete isolated piece.
The second Prelude, being unmeasured, according to standard practice (as is the first prelude), fills exactly the space left on the page (See the General Context about the preludes). It barely constitutes an entrance for the establishment of the key. For a few short moments, the music revolves around the tonic chord. Subsequently an arpeggiated passage leads to a cadence bringing us abruptly to the Allemande, a serene yet disenchanted soliloquy. One notices the use of unisons similar to those of the allemande in Sonata no 4 (S-C 5). The following courante (Cour: ) links without respite larger phrases to the more sprightly melodies. We hardly have time to pause before reaching the conclusion of each section. The Bouree is even more lively and its brilliant progress brings us in one fell swoop to the final note. The Sarabande remains in the home key and not, as it is often the case, in the related minor. The beginning theme could be confused with that of the chaconne which will follow three pages further on. In the sarabande it is worthwhile to make abundant usage of variations in dynamics in the repetitions of the two sections. Shortly after the beginning of the second one, a sensuousness is revealed, a melodic dream such that a measure could, for example, become spontaneously ornamented by straddling its harmony over the bar line into the next. But, since this latter prolongs a chord for three beats we must compensate on the third beat by means of rhythmic diminution:
This is of course a very personal suggestion, though very much in the spirit of this music (See the Quantz examples). We are tempted to subtitle the Menuet “The Hiccup”. It shares, nonetheless, the graceful attributes characteristic of the other minuets. There are slurs placed knowingly in conjunction with the unexpected reverberation of certain notes during the changes of strings that suggest to us the “hiccup” phrasing. By accentuating the ornaments and their possible variants we hear subtle echoes from one phrase to another. Here again is a good example of a piece for lute that seems monotonous as written but unveils all its richness as soon as it is interpreted on the instrument. The Ciaccoñe replaces the more usual gigue as the final movement, and is the only autograph piece in this sonata. It is composed of an initial theme, six variations, and a conclusion. This chaconne is elegantly simple, balanced; the primary musical objective being the expression of the lyric potential of the voices.
Copyright © 1998-2006 Laurent
Duroselle, Markus Lutz
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