CD's are like new, case has one vertical scratch in the front.
This is a very hard to find 3 CD box set of Terrell Stone playing S.L. Weiss music. SEI PARTHIE DI VARSAVIA, Dal ms n. RM 4137.
I have an extensive collection of lute CD's and LP's and his playing is some of the most relaxing and enjoyable to listen to.
Label is Mondo Musica from Italy
Catalogue #: MM 96125
24 Bits DDD Recording
Free shipping within the USA.
This is a second I have and no need for 2.
Review of this work here from La Folia:
Terrell Stone’s interpretations of six Weiss partitas, which he carefully reconstructed at the Conservatorio of the University of Padua in collation of the Warsaw, London and Dresden Weiss manuscripts, manifest a clean and seamless playing of an almost effortless character, in a mature style informed but not frozen by authentic performance practices. Tempos are always correct, leaning more to the reflective than to the kinetic exuberance of younger performers such as Robert Barto (Naxos) and Michel Cardin (SNE), with their eventually tiring “kick-ass” vigor.
Although the choice is difficult, the Italian-style courante of Partita No. 1 in D minor (elsewhere designated Sonata No. 11 or Suite 7, according to which Weiss cataloging system is employed) is perhaps the most immediately memorable and best known of the pieces recorded here. A work of triple meter in binary form, about four minutes long with a relentless harmonic drive, its mood is subdued, reflective and gently optimistic (Matheson’s affective “hope and courage”). The opening one-measure harmonic figure repeats to form three-measure groups, used in descending diatonic sequence from tonic to dominant, employing the wonderful terracing effect characteristic of much Baroque instrumental music. Shorter chordal groups of the second part’s sequence cause the harmonic movement to accelerate, arpeggiation of the figure maintaining the feeling of continuous running figures characterizing the Italian-style courante. Terrell Stone’s technique brings out the vibrato, delicacy and cantabile qualities of the Baroque lute, and especially Weiss’ music. This courante was earlier recorded by Hopkinson Smith on Astrée 8620 (1997) and Lutz Kirchhof on Sony S2K 4839 (1986). It was also transcribed for solo flute by Quantz and Buffardin, in what Barthold Kuijken in a recent review in the journal of the German Lute Society has termed a very challenging manner. See his own successful 2001 Accent CD of lute-to-flute transcriptions.
Terrell Stone provides an added point of interest in employing two acoustically distinct 13-course Baroque lute reconstructions, also by Robert Lundberg. The first instrument, employed for Partitas 2, 4 and 5, is based on a late-17th-century German original by Johann Hoffmann and is noted for its rich and warm tone but lesser intrinsic volume. The second lute, after Thomas Erdlinger’s Italo-German original, has a faster tonal response and more penetrating and higher-volume sound compared to the Hoffmann instrument. Tuning is in a “low kammerton” with a′ = 390Hz. Lute construction, selection of gut-treble and overwound-midrange and bass strings, along with performance, preserve an excellent balance between bass and treble, producing an untiring clarity of tone not always found in previous lute recordings by others.