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The Dresden Manuscript, Lute Sonatas | Vol. 3/5

Silvius Leopold Weiss (1687-1750)

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SKU: LLDE0003

• Composer(s): Silvius Leopold Weiss (1687-1750)
• Title: The Dresden Manuscript
• Sub-title: Lute Sonatas
• Year of edition: c.1700-1750
• Source: Dresden Ms. D-Dl Mus. 2841-V-1
• Volume: 3


Details

The Dresden Manuscript

The Sächsische Landesbibliothek of Dresden has six volumes of French tablatures, referenced as D‑Dl Ms. Mus. 2841‑V‑1,1 à 6. The 34 solo sonatas therein, of various origins, are written in French tablature for the baroque lute (11-course for the earliest, but mainly 13-course). They are scrupulously arranged by key in five volumes, plus a volume of ensemble music of which only the part of a single lute is extant. All pieces were composed by Silvius Leopold Weiss, from 1706 to the last days of his life in 1750. These manuscripts constitute one of our most precious sources for the composer’s music.

The sonatas, either autograph or meticulously copied, were compiled by a collector. He classified them according to age and tuning of the bass courses, very carefully assembled and, later, bound them. Several annotations, pencilled in by Weiss at a late stage, denote an elderly hand.
In the first five volumes, we can identify three different handwritings: that of Weiss himself, that of the manuscripts’ compiler (whose writing style seems to have changed over a long period of time), and that of another copyist, often less careful and precise.

The Sächsische Landesbibliothek purchased the manuscripts in 1929, at the sale of the collection of the musicologist and bibliophile Werner Wolffheim (1877‑1930). Several pages were subsequently damaged during the bombing of Dresden in 1945.

Silvius Leopold Weiss (1687‑1750)

Silvius Leopold Weiss was born in 1687 in the village of Grottkau, near Breslau. His father Johann Jacob, a proficient lutenist, taught his three children how to play, as well as the rules of harmony and the practice of basso continuo. A child prodigy, Silvius Leopold performed before the Emperor Leopold I who, although consumed with his war against Louis XIV, was a great music lover.

From 1707 to 1714 he lived in Italy. In Rome, he met Arcangelo Corelli and befriended the Scarlattis. Subsequently, he is thought to have entered the service of the Governor of Further Austria, who resided in Innsbruck. In 1718, he obtained a well-paid position in the Dresden Court Orchestra.

A first mission took him to Vienna for eight months, where he was immersed in the musical life of Austria, both at the Court and in town. It was there that he discovered the galant style, which would leave its mark on all his future compositions.

He subsequently settled in Dresden where, although he often travelled, he spent the rest of his life. He was a brilliant continuo player at the Court, the Church and, above all, the Opera. His playing and improvisations were so highly esteemed that he became the best paid and most demanded instrumentalist in Dresden; even the considerable financial incentives offered by the Court of Vienna could not lure him away.

Silvius Leopold Weiss frequented the best musicians of his era. He was appreciated by princes, often lutenists themselves. Thus, between 1725 and 1730, he made several sojourns in Prague to teach his art to Prince Lobkowitz and his wife, to Johann Antonin Losy von Losimthal (Count d’Logy), Imperial Governor of Bohemia, or to Ludwig Joseph Cajetan, Baron von Hartig, Imperialo Governor of the city of Prague. Silvius Leopold Weiss met and played music with Johann Sebastian Bach when the latter, living in Leipzig, came to visit his young son Wilhelm Friedmann, an organist in Dresden.
Weiss was the main promoter of fundamental modifications to the lute: the addition of a 13th course and the subsequent lengthening of the lowest courses by means of a second pegbox on a neck extension, similar to the theorbo.

Silvius Leopold Weiss was an accomplished musician whose compositions were very solid, placing him on a par with his most distinguished contemporaries: Johann Sebastian Bach, Georg Friedrich Händel or Jan Dismas Zelenka. However, he only composed for his instrument. His daily practice of continuo and improvisation deeply influenced his entire work. His characteristic touch can be found in his unmeasured preludes and in his skillful handling of very elaborate sequences. He always made brilliant use of the possibilities afforded by the lute’s particular tuning.

Silvius Leopold Weiss died on 16 October 1750, leaving his widow Marie–Elizabeth and his seven children in financial straits. His son Johann Adolf Faustinus (1741‑1814) was the only one to follow in his father’s footsteps, and became a chamber lutenist at the Court of Dresden. Silvius Leopold Weiss was buried outside the city walls, in the Katholischer Friedhof.

Jean-Daniel Forget | Le Luth Doré © 2015

Content

Sonata 12 in A Major
Suonata del Sigre Weiss
Prélude
Allemande
Courante
Bourrée
Menuet
Ciacona del Sigr. S. L. Weiss

Sonata 44 in A Major
Prélude
Allemande
Courante
Bourrée
Sarabande
Menuet
Gigue 1
Gigue 2

Sonata 16 in A Major
Allemande
Paysanne
Sarabande
Vivace
Menuet
Gigue

Sonata 45 in A Major
Introduzzione, Allegro, Largo
Courante
Bourrée
Sarabande Grave
Menuet
Presto

Sonata 46 in A Major
Ouverture Largo, Allegro
Courante
Bourrée
Sarabande
Menuet
Presto

Sonata 47 in A Major
Suonata del Sig.re S.L.Weiss
Entrée
Courante
Rondeau
Sarabande
Menuet
Allegro

Sonata 48 in F‐sharp minor
Suonata del Sig.re S.L. Weiss
Prélude
Allemande Andante
Courante
Bourrée
Sarabande Andante
Menuet
Presto

Addendum
Sarabande

Concordances

Ms. Code Ms. Name Library Name Country
Bk Breitkopf (incipits) Thematischer Katalog Breitkopf, Supplement IV, 1769 Germany
A-ROI A-RO Lauten-Ms. Rohrau, Graf Harrach'sche Familiensammlung
    Provenience: Salzburg
Austria
A-Wn18829 A-Wn ms. 18829 Wien, Österreichische Nationalbibliothek, Musiksammlung Austria
CZ-Bm372 CZ-Bm Ms. sig. A.372 Brno, Moravské zemské muzeum, oddělení dějin hudby MZM
    Provenience: Musicalien-Bibliothek des Stiftes Raigern 5.b.
Czech Republic
CZ-Po CZ-POm s.c. (III) Podĕbrady, Polabské muzeum v Poděbradech Czech Republic
D-KNu D-KNu Ms. 5.P.171 (olim Ms. 1.N.68) Köln, Universitäts- und Stadtbibliothek Germany
F-PnThII F-Pn Rés. Vmc ms. 61 (olim: Bibl. Mad. Thibault)
    In Venetiis 7.7br.1712
Paris, Bibliothèque National
    Provenience: Bibl. Mad. Thibault
France
F-Sim F-Sim ms. Rm 271
    (Baltic) Lutebook
Strassbourg, Institut de Musicologie de l'Université France
GB-HAB2 GB-HAdolmetsch ms II.B.2 Haslemere, Carl Dolmetsch Library Great Britain
GB-Lbl30387 GB-Lbl Add. Ms. 30387 London, The British Library
    Provenience: Prague
Great Britain
I-Ven I-BDG ms. sans cote Bassano del Grappa, Biblioteca Civica
    Chilesotti manuscript (Chilesotti's transcription of the ms, now retained lost)
Italy
PL-Wu2003 PL-Wu RM 4136 (olim Mf. 2003) Warszawa, Biblioteka Uniwersytecka w Warszawie, Gabinet Zbiorów Muzycznych Poland
PL-Wu2004 PL-Wu RM 4137 (olim Mf. 2004) Warszawa, Biblioteka Uniwersytecka w Warszawie, Gabinet Zbiorów Muzycznych Poland
PL-Wu2005 PL-Wu RM 4138 (olim Mf. 2005) Warszawa, Biblioteka Uniwersytecka w Warszawie, Gabinet Zbiorów Muzycznych Poland

Work Title | Piece Title Ms. Code Ms. Page
Sonata 12 in A Major
    Suonata del Sigre Sigism. Weiss
Prélude Bk 2
Allemande A-Wn18829
GB-Lbl30387
22v
51v
Courante A-Wn18829
CZ-Po
GB-Lbl30387
23v
14
52r
Bourrée GB-Lbl30387
PL-Wu2004
52v
10v
Menuet GB-Lbl30387
PL-Wu2004
54r
11v (1)
Ciacona del Sigr. S. L. Weiss A-Wn18829
GB-Lbl30387
25v
54v
Sonata 44 in A Major
Prélude - -
Allemande A-ROI
Bk
CZ-Bm372
F-PnThII
GB-HAB2
I-Ven
PL-Wu2003
PL-Wu2005
27v & 29r (ensemble)
1
45
14v
127
504.2
15r
121
Courante A-ROI
CZ-Bm372
F-PnThII
GB-HAB2
I-Ven
PL-Wu2003
PL-Wu2005
27v & 29r (ensemble)
46
12v
127 (2°)
504.3
15v
122
Bourrée A-ROI
CZ-Bm372
D-KNu
F-PnThII
F-Sim
GB-HAB2
I-Ven
PL-WRu
PL-Wu2003
28r & 30v (ensemble)
47
32r ("Scherzo")
13r
17v
25 & 128
505.2
41
15r (2)
Sarabande A-ROI
CZ-Bm372
F-PnThII
GB-HAB2
I-Ven
PL-WRu
PL-Wu2003
28r & 30r (ensemble)
45
15r
128 (1)
505.1
42 (1)
16r
Menuet A-ROI
CZ-Bm372
D-KNu
F-PnThII
I-Ven
PL-WRu
PL-Wu2003
PL-Wu2008
PL-Wu2009
28v & 31r (ensemble)
47
32v
13r
504.4
42
15v
122 (1)
176 (1)
Gigue A-ROI
CZ-Bm372
F-PnThII
GB-HAB2
I-Ven
PL-WRu
PL-Wu2003
PL-Wu2005
28v & 31v (ensemble)
48
13v
129
505.3
43
16v
123
Gigue - -
Sonata 16 in A Major
Allemande A-Wn18829
Bk
GB-Lbl30387
13v
3
74v
Paysanne A-Wn18829
CZ-Po
GB-HAB2
GB-Lbl30387
16v
13
141
76r
Sarabande A-Wn18829
GB-Lbl30387
17v
76v
Vivace A-Wn18829
GB-HAB2
GB-Lbl30387
15v ("Echo")
29
75v ("Air en echo")
Menuet A-Wn1078
A-Wn18829
CZ-Po
GB-Lbl30387
47v ("Mad: la grondeuse Menuet")
20v
15
77r
Gigue A-Wn18829
CZ-Po
GB-Lbl30387
PL-Wu2004
18v
18
55v
11v (2)
Sonata 45 in A Major
Introduzzione Allegro, largo - -
Courante - -
Bourrée - -
Sarabande Grave - -
Menuet - -
Presto - -
Sonata 46 in A Major
Ouverture Largo, Allegro Bk 2b (Fuga)
Courante - -
Bourrée - -
Sarabande - -
Menuet - -
Presto - -
Sonata 47 in A Major
    Suonata del Sig.re S.L. Weiss
Entrée BWV 1025
Bk
2
4
Courante BWV 1025 3
Rondeau BWV 1025
D-Mbs5362
4
40v
Sarabande BWV 1025 5
Menuet BWV 1025 6
Allegro BWV 1025 7
Prélude 30* in F-sharp minor & Sonata 48 in F-sharp minor
    Suonata del Sig.re S.L. Weiss
Allemande Andante Bk 49
Courante - -
Bourrée - -
Sarabande Andante - -
Menuet - -
Presto - -

Editors

Jean-Daniel Forget
Computer Scientist, Lutenist

Passionate about the baroque era, Jean-Daniel Forget is a self-taught lutenist. In order to play the forgotten (lute) works of the 17th and 18th centuries, he has copied (and studied) their manuscripts for almost 20 years.

A long career as a computer scientist, having made him expert in programming, allowed him to utilize the normal logic of writing music, especially that which transcribes tablature for instruments with fretted strings.

In collaboration with Guy Grangereau. he has posted his tablatures on a public internet site that is frequented by many lutenists and guitarists.

Forget was enlisted by Miguel Yisrael to help prepare the musical examples for his fine Method of the Baroque Lute. Further on, he continues to assist Yisrael in the preparation of his (lute) editions.

 

Guy Grangereau
Guitarist, Lutenist

Guy Grangereau is a professional musician who studied guitar playing in Paris, notably with the Brazilian Turibio Santos. Then, he perfected his musical knowledge at Martenot school in Paris.

Since 1984, he gave guitar and piano lessons and, for twenty years, he taught guitar in music schools.

His favorite instrument is a guitar (Maurice Dupont) initially with 13 strings, to which a 14th string was added; more recently were added two strings and a theorbo neck for the last four strings. This 16 strings instrument can be tuned in thirds (open tuning); he uses it to transcribe solo harpsichord works. He also plays a 14-course theorbed baroque lute (Stephen Murphy).

Since 2010, he is collaborating with Jean-Daniel Forget for the copy of German baroque lute manuscripts of the 17th and 18th centuries, in bringing more particularly his musical expertise to the review of the Silvius Leopold Weiss’ work.

• Editor(s): Jean-Daniel Forget & Guy Grangereau
• Music period: Baroque
• Instrument(s): 11c/13c Baroque lute
• Instrumentation: Baroque lute solo
• Notation: French tablature
• Modern edition: Urtext
• Publisher: Le Luth Doré Urtext Editions
• Year of publication: 2015
• Collection: Lute and Theorbo Music Collection

• Pages: pp. 120
• Dimensions: 230x310 mm
• Weight: 0,320g
• Binding: Section sewn glue binding
• ISMN: 377-0-0017-8803-6

Le Luth Doré Urtext Editions

The Le Luth Doré Urtext Editions offer musicians and musicologists worldwide reliable and authoritative musical texts. The main features are:

• superb and aesthetically appealing music engraving
• optimized for practical use (page turns, fingerings)
• books originally in Italian tablature are published in both Italian and French tablatures
• high-quality and durable (cover, paper, binding)
• both original and modern prefaces, documentation of the corrections made and explanatory footnotes in English, French, Italian, German …

About Le Luth Doré Urtext Editions

Our editions are urtext: we strive to provide reliable musical texts that are as true as possible to the existing sources and the composer’s intentions. We are aware, of course, that it is impossible to reconstruct the one and only urtext. Often, several manuscript sources exist for the same piece, and there is little reliable guidance for determining which version best represents the composer's intentions.

Although we cannot entirely dissipate historical uncertainty, we can compare texts and correct obvious errors, which sometimes occur even in autograph manuscripts. Sources have been meticulously examined - note by note, mark by mark.

When facing ambiguity inherent to the sources, wise editorial judgment must take the place of textual certainty.

The most important observations and editorial decisions are elucidated in the prefaces, in the critical commentary, in footnotes, or marked as such in the musical text. It therefore comes as no surprise that an editor has to invest a great deal of patience, knowledge and time when piecing together an urtext that is true to the source and, hopefully, to the composers’ intentions as well. Proven specialists with extensive knowledge and experience edit our Le Luth Doré Urtext Editions in close cooperation with our Editorial Department.

Each verified musical text preserves the original fingerings and notation of ornamentation and, in the absence of original manuscript notations, also sets forth helpful suggestions by modern masters regarding useful fingerings and ornaments faithful to historical style, as a stimulus to further thought and a starting point for the student's approach to performance.

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Le Luth Doré ©2015

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