© Michel Cardin
The London Manuscript
Solo Sonata 8 in A Major
(Smith-Crawford 12)
The complete and updated version of 'London unveiled' by Michel Cardin can be downloaded as pdf files: 'London unveiled'
More so possibly than any of the others, this sonata embodies the essence of galanterie. The term was used to describe on the one hand the instrumental solo or chamber music of the period (as opposed to music of a theatrical or religious nature) and on the other, as an indication of the state of elegance and delicateness attained by this music, so preferred by Weiss. His taste, in combination with his preoccupation for galanterie, gives to his works a hint of the style galant, the ‘new music’ of the day. Weiss, like his colleague Bach, is in fact more representative of the Germanic style, a synthesis achieved through moderation of the two prevailing Baroque tendencies of the 17th Century, namely the sober, subtly-ornamented style français and the more flamboyant Italian style. Although both masters were to remain resolutely Baroque, Weiss was to display more of the gallant tendencies that make his work a kind of an ‘in-between’ with its transitory foreshadowing of the Classical period. We can see in his later works, firmly anchored as they are in the Baroque spirit, some of the components of sonata-form. The essence of this classicism emanates from work as early as that of the eighth sonata, with its characteristic lightness, grace and equilibrium. Here there is no forced writing, only clear lyric themes, repeated without cumbersome counterpoint; in all a perfect expression of that controlled lightness we now recognize as the product of a refined, conscientious artistic spirit (which is not to say that his music lacks passion, as is so aptly disproved by the sarabande).
The Sonata no 8 - not an autograph manuscript- shares a certain similarity with the Sonata no 1. It exists in several sources, and has many alternate movements, totalling eleven in all, including three preludes and one Conclude. Here again, a choice should be made for a standard setting. Given the desire to maintain coherence with our synthesis of the London and Dresden manuscripts, the two main sources, we should, logically speaking, borrow the Prelude, as is the case with the fantasia of the seventh sonata, from the Dresden version. Its heading bears the words “Suonata del Sigre Sigism. Weifs”. However, Silvius crossed out his brother’s name and added “S.L.” instead, probably after reading his copyist’s mistake. Here, in any event, is a prelude that serves primarily the function of establishing the tonality. Typical introductory chords spin out a web of simple modulations in a fashion not unlike the prelude of the first sonata, although it is shorter.
Mattheson describes the key of A major as “moving in a melancholic way in spite of
its brilliance, favouring the emotion of sadness over any usage as mere entertainment”. In
the eighth sonata this seems to prove true only for the allemande and the chaconne, unless
one chooses to argue that the sound of the lute is inherently melancholic. It is at least
conceivable that the sadness of A major contributes in some way to the tender luminosity of
the Allemande. What better way to describe the movement than as an act of ‘noble
tenderness’. A fragile freshness of gesture betrays the competence of the composer who has
yet again found the perfect equilibrium between mere cerebral writing and pure expression.
The following courante (Cour: ) retains a sense of grace and nobleness, presenting an
uplifting thematic cellule
that is in turn subjected to brief agitated
developmental treatment. Those lutenists who choose to compare the sources will notice in
this sonata, as in the others, some slight divergences from the original score, notably, in the
case of the courante, in the reading of the bass line. The Podebrady Manuscript is definitely
the preferred choice, in my opinion, for the bass line of this courante.
The same spirit prevails in the gently weaving phrases of the Bourée. The frank insouciance of this movement is brought abruptly to a close by the first chord of the Sarabanda, in the related key of F sharp minor. For me, this is the greatest piece of the whole London Manuscript, an extraordinary moment of interior state exploding all of a sudden in the listener's ear and mind. The change of modality announces an unexpectedly dramatic discourse of such grave import that one is immediately made mindful of an intense sadness, albeit so full of fierce and fiery haughtiness, of musical expression. Breathless phrases leap into even more soul-wrenching gestures before resolving fatalistically upon terminal sonorities. These moments of concentrated musical expression involve the use of ‘balancement’ or organ shake, a heavy accentuated vibrato, giving the impression that the lute is crying in despair.
After the eloquent display of pain born of this tonality (Mattheson also speaks of it as “leading to a languishing pain” and as “being of a singularly misanthropic nature”) the sonata continues with a Menuet that recalls the earlier mood of insouciance. In fact, galanterie, as expressed above, was so highly appreciated in the Germanic and neighbouring countries that it comes as no surprise to find such a wealth of minuets in early manuscripts, given the high suitability of this dance form as a vehicle for this courtly sentiment. After the minuet there follows a pair of concluding movements, specifically a Ciacona and a Gigue. Bach did the same in his second violin partita but reversely ended it with the immense chaconne. Weiss’s chaconne, to which can be added a final variation found in the Vienna and Augsburg versions, recombines the brilliant and more melancholic styles found in the work. Despite current practice, which abjures the repetition of closing themes, it is advisable here, in my view, to repeat this theme in deference to the fact that it is meticulously indicated in all manuscripts, allowing pertinent emphasis on the final musical phrases. It becomes at this point a matter of some importance to understand that all the Baroque pieces, among which we include the chaconnes and passacailles of Weiss, which also have repeat marks in the last section were maybe in fact carefully played with ornamented repeats. The Gigue is a study in pure exuberance with notes ricocheting merrily in groups of three from beginning to end.
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