Richard Tobias James Chadwick 300353898

MUSC 342: Editing as Interpretation

Samantha Owens

Exercise One

Due 28/07/17
Silvius Leopold Weisss Lute Concerti has been reconstructed and edited by Richard Stone. The
introduction begins with a short paragraph of the known works of Weisss output, his reputation
and that he is best known for his lute compositions. Stone identifies there is a great number of
lost works composed by Weiss, this effect, sparks interest (with the help of the revered
statements on Weiss as a composer), not only to the performer who would be performing a rare
piece, but also to the musicologist who would potentially search for the lost pieces.

The biography adequately covers how Weiss was influenced by Italian composers such as Corelli.
It explains how Weisss mainstay was in Dresden, which contemporarily, was known as the
northern European hotbed of opera.1 It also explains that Weiss was famed as a lutenist, known
for the quality of his improvisations and compositions. The biography briefly covers Weisss
influences so one would expect to see/hear a strong Italian baroque style input (especially being
a concerto) that has a strong improvisatory feel and the lute parts are of a high standard of
performing.

Stone explains in detail the influences of Italian and French Style Baroque, and particularly
around the date of composition. Which was during a strong transition stage from French to
Italian. Stone makes clear that there are the French Style influences, however the Italian Style is
more dominant and becomes increasingly dominant in his later compositions. He then gives
examples of internal and external influences, including a contact between Bach and Weiss in
1739.

In The Music of the Edition introductory paragraph, Stone explains how parts are missing and
who the model composers of the concerto form were (Vivaldi with the three movement fast,
slow, fast and Correlli with the four movements in the da Chiesa sonata style). Later, Stone goes
through each work and gives the title, movement sequence and source, followed by a comment
section where he explains how he came to conclusions with genres, dates possibly composed and
other things like how one might go about reconstructing the missing parts and suggesting
external influences on the composition, for example, An uncanny thematic similarity for
Bachs Prelude.2 Lastly, in this section, Stone gives a very detailed description of how he
concluded the estimated dates of completion with Weisss compositions.

1
Silvius Leopold Weiss and Richard Stone. Lute Concerti, Silvius Leopold Weiss. Reconstructed and Edited by
Richard Stone. Recent Researches in the Music of the Baroque Era; v. 136. Middleton, Wis.: A-R Editions, 2004.
vii
2
Ibid, xi
The Critical Appraisal distinguishes between the formal structures of the concertos and Weisss
solo works. Stone explains how Weiss employed specific compositional practices in the
concertos, such as: Sonata da Chiesa, through-composed, extended ritornello structures, etc. and
that these practices are different to Weisss typical binary dance movements for his solo works
(which is what Weiss is mainly known for today).

Stones notes on performance are very thorough and cover dynamics, ornaments and special
signs, what baroque instruments will work, what modern instruments and he even covers how
many players per part.

This introduction is very large and seems to cover everything one would want to know about
performing these pieces. Stone successfully creates interest by revealing the rarity of the works
and the possibility of finding more. Also evident is the amount of research Stone has put into the
introduction and the edited score (as expected when reconstructing a score).
Bibliography

Weiss, Silvius Leopold, and Richard Stone. Lute Concerti, Silvius Leopold Weiss. Reconstructed and
Edited by Richard Stone. Recent Researches in the Music of the Baroque Era; v. 136. Middleton,
Wis.: A-R Editions, 2004.