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

Silvius Leopold Weiss (1687-1750)

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SKU: LLDE0005

• 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: 5

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 7 in C minor
Allemande
Courante
Sarabande
Gavotte
Gigue

Sonata 27 in C minor
Allemande
Gavotte
Rondeau
Sarabande
Menuet
Rigaudon
Angloise

Sonata 52 in C minor
Ouverture: Largo, Allegro, Vivace
Courante Assai moderato
Bourrée
Siciliana
Menuet
Presto

Sonata 30 in E-flat Major Prélude
Allemande
Courante
Rigaudon
Sarabande
Gavotte
Menuet
Allegro assai

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-Su A-Su ms. codex M.III.25 Salzburg, Universitätsbibliothek Austria
D-Dl2841-1 D-Dl Mus. 2841-V-1,1 Staats- und Universitätsbibliothek Dresden, Sächische Landesbibliothek
    Provenience: Saxony
Germany
D-Mbs5362 D-Mbs ms. Mus. 5362 München, Bayerische Staatsbibliothek, Musikabteilung 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
GB-Lbl30387 GB-Lbl Add. Ms. 30387 London, The British Library
    Provenience: Prague
Great Britain

Work Title | Piece Title Ms. Code Ms. Page
Sonata 7 in C minor
Allemande Bk
F-PnThII
GB-Lbl30387
19
22v
30r
Courante A-ROI
GB-Lbl30387
33v
30v
Sarabande GB-Lbl30387 31v
Gavotte GB-Lbl30387 31r
Gigue A-ROI
GB-Lbl30387
34v
32v
Sonata 27 de Ms. Weiss in C minor
Allemande A-Su
Bk
GB-Lbl30387
III.1 ("Allemande andante")
20
130r
Gavotte A-Su
D-Mbs5362
GB-Lbl30387
III.2
15v
130v
Rondeau A-Su
GB-Lbl30387
III.3
131r
Sarabande GB-Lbl30387 131v
Menuet A-Su
GB-Lbl30387
III.4
132r
Rigaudon A-Su
D-Mbs5362
GB-Lbl30387
III.5
16r
132v
Angloise A-Su
GB-Lbl30387
III.6 ("La belle Tiroloise")
133r ("La belle Tiroloise")
Sonata 52 in C minor
Ouverture Largo, Allegro, Vivace Bk 6a (Largo) & 6b (Fuga)
Courante Assai moderato - -
Bourrée A-Su III.8
Siciliana - -
Menuet A-Su
Presto A-Su III.9
Prélude 33* & Sonata 30 in E-flat Major
Allemande Bk
GB-Lbl30387
36
141v
Courante GB-Lbl30387 42v
Rigaudon GB-Lbl30387 142v
Sarabande GB-Lbl30387 143r
Gavotte GB-Lbl30387 143v
Menuet GB-Lbl30387 144r
Allegro assai GB-Lbl30387 144v ("Le Sans Soucie")

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. 68
• Dimensions: 230x310 mm
• Weight: 0,320g
• Binding: Section sewn glue binding
• ISMN: 377-0-0017-8805-0

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.

We are deeply grateful to all the extraordinary musicologists, music teachers and artists that put their knowledge and experience at our disposal for Le Luth Doré Urtext Editions.

Le Luth Doré ©2015

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