Description
Leopold Sylvius Weiss (1686-1750), “The Moscow ‘Weiss’ Manuscript”.
- Transcribed & Edited by Tim Crawford
- Arranged for the Guitar by Alan Rinehart
- 64 Pages
The music of the great lutenist Silvius Leopold Weiss, the exact contemporary and friend of J.S. Bach, is at last becoming increasingly well known through recordings. Most of the music that has been available in print, however, comes from one of the two principal sources, a manuscript of c1717-1725 now in the British Library in London. That manuscript has been edited in the “Complete Works” edition of Weiss’s music, and the six manuscript volumes in the Sächsisches Landesbibliothek, Dresden, are forthcoming in the same series. But there are a number of other, less well-known manuscripts of great importance which remain virtually untapped sources of this marvelous music.
The present MS, unknown in the West until 1963, was published in 1976 in an eccentric edition which is now out of print. Important recent research on the MS shows that it could not have been compiled during Weiss’s lifetime, nor in his home city of Dresden, but at least a decade after his death and in Russia.
The present edition aims to put the music in that context, and to explain some of its unusual features. An attempt has been made to distinguish between music that is definitely by Weiss, and music that might not be. Reaching such conclusions is necessarily a subjective matter, and the editor acknowledges that there may be those who will remain convinced that every note in the MS was composed by Weiss himself. It is to be hoped that the edition remains as useful to them as to those who accept his arguments.
In any case, this is an exceptional collection of excellent lute music, and some of the pieces are among Weiss’s finest work.
The edition is presented in 3 separate formats:
1.- A photographic reproduction
2.- A transcription into staff notation (LUTE-1a)
3.- A guitar arrangement (LUTE-1 — the present edition).
In this volume, the music of the Moscow Weiss manuscript, as transcribed by Tim Crawford in the companion volume, is arranged for the guitar by Alan Rinehart. In addition to the set of scales in all the keys following no. 38, only one piece has been omitted, the identical repetition of the prelude No. 1 before No. 27 (another prelude in the same key). Two pieces (nos. 39 and 40) have been moved earlier in the sequence to avoid breaking up a partita whose movements were carefully numbered by the scribe. These guitar arrangements were made from the transcriptions, with reference to the tablature as needed, and therefore incorporate the editorial changes made therein. No attempt has been made to report every change here, however, and interested readers are referred to the transcription volume, where they are reported as footnotes to the musical text.
