The majority of Silvius Leopold Weiss’s c600 extant works for lute consist of Baroque dance suites in typical mixed Italian/French/German style. Included here are two of the most substantial; separating them is, as Tim Crawford says in his excellent booklet-notes, Weiss’s most famous work, both in his own lifetime and today – the Tombeau sur la mort de M Comte de Logy, a homage to the Bohemian aristocratic lutenist Count Jan Antonín Losy von Losinthal (c1650-1721).

Jakob Lindberg’s previous Weiss recital explored the Baroque master’s repertoire for the 11-course lute via Lindberg’s beautiful c1590 Sixtus Rauwolf lute, originally a seven- or eight-course instrument but given a new neck in 1715 to accommodate the extra three courses after the fashion of the time. Around 1720 Weiss switched to a 13-course instrument, the lower courses of which were unstopped; this not only extended the range downwards but allowed the strings to vibrate sympathetically, thus adding an extra brightness and richness to the sound. For this second recital, which features some of Weiss’s later music, Lindberg consequently plays a 13-course swan-necked lute made by Michael Lowe in 1982.

This is very fine Weiss-playing indeed, Lindberg capturing the melancholy grandeur, as well as the sheer strangeness, of the Tombeau while astutely assessing the tonal contrasts (in a light/dark sense) implicit in the varying tempi and textures of the various dance movements and thus heightening the tension – all the while exploiting every resource of his instrument. Weiss’s genius, like that of Domenico Scarlatti, was to make a virtue of restricted means; Lindberg’s is not to allow impeccable scholarship to restrict his considerable imagination.