Sylvius Leopold Weiss
The Baroque lute master who rivaled Bach
“Anyone who knows how difficult it is to play harmonic modulations and good counterpoint on the lute will be surprised and full of disbelief to hear from eyewitnesses that Weiss, the great lutenist, challenged J.S. Bach, the great harpsichordist and organist, at playing fantasies and fugues.” — J.F. Reichardt
Sylvius Leopold Weiss (S. L. Weiss) was one of the most famous and influential lutenists of the Baroque era. He lived during the latter part of the lute’s prominence in music and personally witnessed the instrument's decline. As a composer, his fame was international. While serving as a court musician in Dresden, Weiss met J.S. Bach, whom he challenged to improvisation one evening after their introduction from J.S. Bach’s son, W.F. Bach. Though the results of this ‘challenge’ were never explicitly recorded, J.F. Reichardt’s quote paints quite an intriguing scene.
Weiss's prolific output is somewhat paradoxical, considering it occurred as the lute was falling out of favor. In many ways, Weiss embodies the instrument’s decline, which perhaps contributed to the pathos in his music. While he primarily composed for the lute, he is known to have also written chamber music, some of which has been recently discovered. Almost all of his music survives solely in manuscripts, save for one that made it into print. Around 850 pieces have been attributed to Weiss.
Weiss’ legacy
Coming from a family of lutenists, it is no real mystery that Weiss continued the legacy. He was born in 1687 in Breslau (Wrocław), the Southwestern portion of Poland. From an early age, he found himself learning the instrument from his father, who also instructed his other siblings in the instrument, before becoming a court musician in 1706 for Charles III Philip, Elector Palatine and Count Palatine of Neuburg. In 1708, Weiss followed the Prince of Poland, Aleksander Benedykt Sobieski, to Rome and played for the royal family until death of the prince in 1714. He returned to Germany shortly thereafter.
During his time in Italy, Weiss would begin to find the Italian influence impress itself in his work—an essence that can be found even in the lasts of his compositions. His travels and service of the exiled Prince Sobieski allowed him to rub shoulders with many Italian musicians, composers, and fellow compatriots of the likes of Handel, Alessandro and Dominico Scarlatti, and the renowned organist, Bernardo Pasquini. Weiss’ virtuosity was celebrated in the many courts in which he performed. Upon his return to Germany, he found himself in a unique position to seek out a new appointment, one that he ensured suited his talents.
From about 1718 and until his death in 1750, Weiss resided and performed for the court of Prince Elector of Saxony August the Strong, who had been King of Poland since 1697. Weiss secured himself a highly prized position that allowed him to quickly become the highest paid musician of the court. The respect for his talents was rewarded even more greatly after the death of the king and the appointment of his son to the throne. This must have caused some jealousy amongst other musicians as it has been reported that a violinist, after some altercation and fighting, attempted to bite off Weiss thumb. Luckily, his digits remained intact and his playing unaffected by the attack.
With the appointment of J.S. Bach’s son, W.F. Bach, an organist like his father, to the organist position for Sainte Sophie in Dresden, it is likely J.S. Bach and Weiss had the opportunity to meet many times. Especially since Weiss and W.F. Bach struck a close friendship. Weiss must have left quite an impression on J.S. Bach, as he had wrote some lute compositions. While some speculatively think these lute pieces were intended for Weiss, there is no hard evidence positing that this is true. I do find it compelling enough to think that Weiss’ impression on J.S. Bach had resulted in Bach’s desire to compose for the lute. Bach also composed BWV 1025—which is an arrangement of Weiss's sonata no. 47.
Weiss continued to float in the high society of Dresden serving as a musician and teacher up until his death in 1750. That year was a tough one for music, as it is the same year J.S. Bach also passed away. Weiss, although being the highest paid musician in the city, paid heavily to keep up those appearances, and left his wife and seven children hardly any inheritance. After Wiess’ death, no other lutenist would rise to the heights achieved by the master. The instrument sadly waned from popular consciousness.
Sonata No. 5 in G major
This sonata perfectly demonstrates Weiss's mastery of the lute and his ability to create complex, engaging music for the instrument. It is also one of my personal favorite of Weiss’ compositions. Below is a wonderful rendition of this sonata performed by Evangelina Mascardi. Her performance is masterfully executed, bringing out the nuances of Weiss's composition. If you are unfamiliar with Weiss's work, I highly recommend exploring his compositions, starting with this piece. 😉
Great article! You mentioned Weiss composed some chamber music—do you know if there are any pieces for voice?