© Michel Cardin
The London Manuscript
Solo Sonata 10 in B flat Major
(Smith-Crawford 15)
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Though present in its entirety in the Warsaw Manuscript, only half of the tenth sonata is contained in the Dresden version. This same half of the sonata is attached to three movements taken from the large Divertimento à solo (London ms pages 224 to 232), the totality of which are to be construed as a separate sonata in Dresden. Here we find two autograph movements, namely the allemande and the courante. “This key is both sumptuous and entertaining while retaining a certain modesty; it can appear to be simultaneously magnificent and endearing. Among other qualities attributed to it we must be mindful of this one: Ad ardua animam elevat”. These are the words used by Mattheson to describe the key of B flat major in his list of ‘tonartencharakteristik’, a text that is heavily overlaid with French expressions such as ‘divertissante’, ‘modeste’, ‘magnifique’ and ‘mignonne’.
From the very beginning of the Allemande we sense a presence of
nobility infused
with calm, due in large measure to the affirmative usage of the lower register. This creates a
very different atmosphere from what we would expect to find in a darker minor key.
Compare, for example, this opening with that of the allemande from the fifth sonata, which is
surprisingly similar but much more sombre. Weiss’s allemandes share certain interminable
qualities with some of the works of Schubert. These long durations do allow us, though, to
experience completely a peaceful dream-like quality inherent in the music. The next piece, a
lively courante (Cour: ), is somewhat reminiscent of a slalom course with its
interesting
mixture of equal quavers and triplets. In the Dresden version the tempo is indicated moderato
and all the triplets are replaced with the rhythmic figure 
which gives a minuet allure
to the piece ! Interestingly enough, with the new musical expression of the late Baroque, the
two rhythmic figures tend to be differentiated from each other, whereas before they would be
similar since the triplets were played unevenly.
The dance-like Paisane is very festive in spirit. It should be noted in passing that the sonatas 10, 11 and 12 have a paysanne movement (but no prelude) and that no movements are presented in the minor mode. The sarabande (Sarab: ) is neither excessively dramatic nor jesting, retaining rather an element of charming good taste. The Menuet is equally graceful in a slightly headstrong way. Eloquent long phrases, complete with all the panache and majesty of an imposing speech, are reserved for the final Gigue movement.
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