© Michel Cardin
The London Manuscript
Solo Sonata 7 in d minor
(Smith-Crawford 11)
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Referring as always to Mattheson, we can find in the key of D minor "something devotional and still, while at the same time grand, pleasant and satisfying. The implication is that devotion will be heard in a sacred context and peace in an earthly milieu, without hindering the occurrence of a certain ‘subdued lightness’ ". This tonal portrait seems to be an accurate reflection of what one perceives. Four copies of this sonata can be found at this time of writing (the London version, one in Dresden and two copies at the University of Warsaw). Some of the movements can be located individually in other European libraries. In the London version, in someone else’s hand except for a few autograph corrections, this sonata begins directly with the allemande. The seemingly later Dresden version appears to include some modifications. Inscribed Partie de S.L. Weiss, it begins with a Fantasia which is, in effect, an unmeasured prelude that has an improvisational quality. This fantasia, with eloquent phrases, is, in my opinion, indispensable and has to be attached to the London version. Alternatively, one could play the introductory prelude from one of the Warsaw copies, each of which is similar in emotional quality.
The Allemande, steeped in sadness (the words 'devotional' and 'grand' come to mind) immerses us in a meditative state before leading us to one of the most surprising of Weiss’s courantes (Cour: ), full of unusual modulations in an obstinately pulsating rhythm. No wonder why Quantz, duet partner of Weiss, made a transcription of it for solo flute. The Gavotte remains in the rhythmic character of the courante only to reach the ‘still’, calm sarabande (Sarab:). As is often the case with Weiss, the Menuet is full of rhythmic and harmonic recollections of prior movements, the most remarkable being the ascending line found previously in the courante and the allemande. Finally the monumental Gigue begins, with a real Bachian grandeur, leaving for the end the exhilarating semi-quaver passages so evocative of the above-mentioned subdued lightness.
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