Review By Penguin Guide,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 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 vi