As a contemporary of J.S. Bach it is perhaps inevitable that he should share certain stylistic imperatives. The shared Italian influence is the most obvious but what emerges from both these sonatas – the later sonata may be technically the finer but the B flat major is hardly less impressive – is Weiss’s absolute command of each dance idiom, the expressive potential embodied in the Sarabandes and the mighty sonority of Weiss’s thirteen-course baroque lute with its magnificent sonority. I have been critical of one or two guitar records from Naxos with ruinously intrusive shifts but Barto proves a master here.

The depth and warmth of the Barto sound is a significant point in the success of this disc. Technically impeccable despite the myriad difficulties he faces, he manages to evoke the sound-worlds of each movement with lyricism and with flair. The extended bass notes ring out fully but with rounded tone. The buoyancy of the Courante of the B flat major Sonata belies the troublesome nature of the silent shifts. When it comes to the Sarabande Barto brings great humanity and dextrous warmth to bear. In the difficult Menuet – though Barto as ever never gives one the impression that it’s difficult - the rhythmic brio is pronounced.

The later F sharp minor sonata is an even more magnificent work. The subtlety and range of coloration in the opening Allemande are matched by the deftness of the dynamics Barto employs but even these are mightily eclipsed by the Courante. Here the expansive, ceaselessly imaginative lines twist and curl, nobly projected, with dramatic bass line pointing adding its own drama – as deep as a fortepiano and more resonant. The Sarabande is one of gravity and inevitability and the Presto finale, once more teeming with digital problems, is projected with wonderful élan. The articulation and the runs are of crystalline precision; the amount of detail is breathtaking.

The flowing elasticity of both these sonatas is memorable and the performances, ideally recorded in the Green Room of Offord Hall in Aurora in Ontario, equally so. Truly a marvellous disc.

Both of the sonatas here are eminently listenable, with the edge given to No. 48 which opens with a beautiful melodic line. The entire Allemande: Andante has an expansive quality that Barto brings out wonderfully. This piece, according to the liner notes, is undated, but is indicative of Weiss’s mature work. This first movement makes quite effective use of the lower register of the instrument, which forms a firm foundation for the piece. The following Courante, my favourite movement on this disc, continues the overall tone of the work, though in a lighter mood, and with faster tempo. Again it makes great use of the interplay between the lower bass strings that toll out under the swifter higher melody. Barto’s playing here is effortless, with a sublime sense of timing and tone. The sound quality is just what you’d expect from Naxos, cleanly done. The recording aesthetic is intimate, with enough ambient space to keep the sound from feeling too claustrophobic, though close enough to capture Barto’s breathing in certain passages.

Sonata 15, dated around 1723, is no slouch either, beginning gently, though without as prominently memorable a melody.There are two versions, the earlier one being used for this recording. A later version was copied around the time of Weiss’s death, according to the liner notes, and has movements from another sonata showing up in place of the shorter movements heard here. It is unclear whether the later version was a mistake or reflected the composer’s intention. The second movement in 6/8 time is delightful, bright and motivated, and this sunny demeanour follows into the next movement. The Sarabande is a dignified piece that holds interest, beginning with the same chord that began the opening Allemande and continues with meditative calm and poise. The following Menuet gives us an intermediate triple-meter step toward the giddy Gigue that closes the sonata.

All in all, this is a delight to hear, and, of the discs I’ve received for review, the one I’ve returned to most often for repeated, enjoyable listens.