The Moscow Weiss Lute Manuscript: Inventory and Notes on the pieces, Part II

Published by Legacy of Matanya Ophee on

folio 8:

Gigue [S.L. Weiss]

Smith 441; Manabe, p. 34; Suétine 1991, p. 22

folio 8v:

[P]ausane (recte: Paysane) [S.L. Weiss]

Smith 442; Manabe, p. 36; Suétine 1991, p. 21

folio 8v:

Polonoise [S.L. Weiss]

Smith 443; Manabe, p. 37; Suétine 1991, p. 17

This polonoise, unlike 12 and 13, above, shows clear features of Weiss’s compositional habits. It opens like a simple ‘German’ polonoise, and is cited as such in Wilkowska-Chominska 1963, example 3a, p. 28 (the repetitions of two-measure phrases and the persistent use of a rhythmically repetitive motif in the first half are entirely characteristic). The second half, however, opening with an extended pedal point, shows more typical Weissian development.

folio 9:

Prelludium Signor Vejss [Silvius Leopold Weiss]

London, f. 7v, Prelude [added (not by Weiss) as first mvt of the partially-autograph sonata Weiss SWL, Sonata 2] (modern edn. Weiss SWL, iii, pp. 15-16);

Vienna 18829, f. 7v, Prelude avec la Parthi de Mons. Weis [as first mvt of Weiss SWL, Sonata 18]

Weiss SWL 2/1; Smith 11; Manabe, p. 39

folio 9v-10:

Courente [Weiss]

Smith 444; Manabe, p. 41

Although not explicitly attributed to Weiss in this MS, this is certainly an example of his finest mature style, otherwise rarely to be found outside Dresden. After 1725? (Cf. 28 and 42, below.)

folio 10v:

[Pa]rtitta. Signor. Vejss. / Andante Allemande [S.L. Weiss]

Smith 445; Manabe, p. 47

This partita (21-26) seems to be in Weiss’s ‘simple’ (didactic) style.[1]See Crawford forthcoming Although 23-26 also appear in the similarly late Munich, it is probably not a late work.

folio 10v:

Courente [S.L. Weiss]

Smith 446; Manabe, p. 48

folio 11:

Bourrée [S.L. Weiss]

Munich 5362, f. 28, Bourée del S.L. Weiss.

Smith 447 and 523; Manabe, p. 50

folio 11:

Sarabande [S.L. Weiss]

Munich 5362, f. 29v, Sarabande du même [i.e. S.L. Weiss]

Smith 448 and 526; Manabe, p. 51

folio 11:

Menuet [S.L. Weiss]

Munich 5362, f. 29, Menuet du même [i.e. S.L. Weiss]

Smith 449 and 525; Manabe, p. 51

folio 11v:

Presto / (at end:) finis [S.L. Weiss]

Munich 5362, f. 28v, Presto du même [i.e. S.L. Weiss]

Smith 450 and 524; Manabe, p. 53

(The 3/4 time signature of the MS has here been editorially corrected to 3/8.)

folio 11v-12: [Pr]elludium [Silvius Leopold Weiss]

This MS, f. 3 (See 1, above.)

Smith 241; Manabe, p. 55

Since this is an exact copy of the opening piece in the MS, (1, above, q.v.) it has been omitted from the numbering-sequence and the edition.

folio 12:

Prellud ium [Weiss]

Smith 451; Manabe, p. 57

Sequences of full chords like those at the opening were almost certainly arpeggiated in performance.[2]See Schroeder forthcoming.

folio 12v-13:

Corente [Silvius Leopold Weiss]

Dresden 5 (Reich 1979, p. 32), Cour[ante]

Weiss SWL 36/2; Smith 249; Manabe, p. 60

In Weiss’s finest mature style (Cf 20 , above and 42 , below), as is the whole sonata in which it appears in Dresden. There are augmented-2nd alterations in measures 13 and 118. (The final note in each meas. is b natural in London and Dresden.)

folio 13v-14:

Allegro [Silvius Leopold Weiss]

London, f. 137v, Presto (mod. edn. Weiss SWL, iv, pp. 126-8);

Dresden 4 (Reich 1979, p. 22), Presto

Weiss SWL 28/6; Smith 186; Manabe, p. 64

Also appears as the final movement of a sonata found in London and Dresden; in the former source, the sonata is entitled Le fameux Corsaire. There is an augmented-2nd alteration in measure 22. (London and Dresden both give b natural.)

folio 14:

Galantarie piesse [Weiss?]

Smith 452; Manabe, p. 67

In an empfindsam style not altogether typical of Weiss, although it does bear some resemblance to 47, below, q.v.

folio 14v-15:

Allegro [Weiss]

Smith 141; Manabe, p. 69

A characteristically virtuosic ‘finale’ mvt unmistakably by Weiss, although not found elsewhere.

folio 15v:

i) duetto primo [Weiss?]

folio 16:

ii) duetto secondo [Weiss?]

Smith 453; not in Manabe

Almost certainly not by Weiss. It shares stylistic features with 3 , above, and 34, below, notably the unusual rhythm of the opening.

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