, January 2009
WEISS, S.L.: Lute Sonatas, Vol. 1 (Barto) - Nos. 11, 42, 49 8.553773
WEISS, S.L.: Lute Sonatas, Vol. 2 (Barto) - Nos. 5, 25, 50 8.553988
WEISS, S.L.: Lute Sonatas, Vol. 3 (Barto) - Nos. 2, 27, 35 8.554350
WEISS, S.L.: Lute Sonatas, Vol. 4 (Barto) - Nos. 21, 37, 46 8.554557
WEISS, S.L.: Lute Sonatas, Vol. 5 (Barto) - Nos. 38, 43 / Tombeau sur la mort de M. Cajetan Baron d’Hartig 8.554833
WEISS, S.L.: Lute Sonatas, Vol. 6 (Barto) - Nos. 7, 23, 45 8.555722
WEISS, S.L.: Lute Sonatas, Vol. 7 (Barto) - Nos. 15, 48 8.557806
WEISS, S.L.: Lute Sonatas, Vol. 8 (Barto) - Nos. 19, 34, 36 8.570109
WEISS, S.L.: Lute Sonatas, Vol. 9 (Barto) - Nos. 32, 52, 94 8.570551
In layout Weiss’s Lute Sonatas are very much like the suites and partitas of Bach, usually beginning with a Prelude, followed by a group of dance movements: Allemande, Courante, Bourrée, Saranbande, Menuet and Gigue. Sometimes Weiss closes with a Chaconne (Suite 6), Passacaglia (Suite 14) or an unusual movement, like the striking Paysane which ends Suite 25. The music is invariably through-composed, so that every movement is interrelated, and although each has an independent thematic existence one sometimes has a sense of a set variations.
On Naxos Roberto playing a baroque lute, shows us the breadth of Weiss’s achievement and how naturally the music suits the lute, rather than the guitar. On almost all the discs offered so far he combines one early, one mid-period and one late Sonata.
The manuscripts of the Sonata in G minor (No. 5), which opens the second disc, was found in London. It is most winning work, spontaneously integrating its basic musical material throughout, with the central Courante and Bourrée particularly infections, and a jaunty finale.
No. 2 (8.554350), is another early work, found in the London manuscript. It too is all of a piece, so that the continued use of the remaining six movements very neatly. No. 35, written in D minor (the natural key of the baroque lute), is one of the composer’s last and most ambitious works, probably dating from the 1740s. The measured Allemande is harmonically exploratory, and even the finale, by use of the instrument’s lower tessitura, provides virtuosity without loss of gravitas.
No. 46 in A minor (8.554557) is another late work; it begins unusually, with a French Overture (though without the usual reprise of the opening section). This is another of Weiss’s most inspired and varied Sonatas, very outgoing, with a lively Bourrée, followed by a halcyon Sarabande, a pair of Minuets ( in A minor and A major) effectivekt contrasted in mood, and one of the composer’s bravura moto perpetuo finales.
No. 43 (8.554833) is one of the composer’s last works—and one of his finest. On the disc if follows immediately after the solemn Tombeau for Count Jan Anton Losy (a celebrated Bohemian nobleman and lutenist), and theSonata’s dignified opening Allemande might almost be a funeral march for the lamented Count. The A major Sonata (No. 45) isone of Weiss’s most mature works, coming from the 1740s.Like No. 50, it has an Introduzzione, but this time in the form of a French Overture which introduced a theme a little like Handel’s Harmonious Blacksmith.
Among the more recent issues is Sonata No. 52 in C minor. A large-scale work than most of the others, it includes another Overture as well as the usual dance movements and a closing Presto. It plays for 31 minutes and is very considerable work. Sonata No. 94 in G minor is less ambitious, but it has a rather melancholy opening and then lightens to cover a wide variety of mood in five movements and a comparatively modest time-saon.
But the quality of Weiss;s invention seems inexhaustible throughout all these works, and he has a worthy exponent in Robert Barto, a virtuoso lutenist if a high order and a fine musician. He understands this repertory perfectly, never seeking to impose his personality over that of the composer, and the first-class Naxos recording gives him a natural presence.