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GRAMOPHONE THE WORLD’S BEST CLASSICAL MUSIC REVIEWS ESQUIVEL Missa Hortus conclusus & other works View record and artist details Author: Edward Breen Juan Esquivel (c1560 before 1630) is another Spanish 16th-century polyphonist thus far denied the attention he deserves on record. First known to us as a choirboy in Ciudad Rodrigo near the Portuguese border, he trained under choirmaster Juan Navarro – one-time teacher of both Victoria and Vivanco – so if nothing else, his heritage is assured. This programme of his works is largely edited by Bruno Turner, who also provides the booklet note, and I should like to note Turner’s great achievement in bringing so much of this music to the attention of performers and their public. This disc comprises the Missa Hortus conclusus, a loose parody of a motet by Rodrigo de Ceballos (c1530-1581) performed first. The Mass is then interspersed with motets by Esquivel and ends with his setting of Alma redemptoris mater before the disc continues with a sequence of music for Vespers. De Profundis are an ensemble I admire. Founded by Mark Dourish to explore Renaissance music through male voices at low pitch, they work with visiting conductors and have previously recorded albums of music by Ribera with David Skinner (9/16) and Vivanco with Robert Hollingworth (8/18). They certainly fulfil their brief here: low, bold and more demonstrative than many of the English ensembles who also explore Iberian polyphony, their sound is rich – at times too rich on the top line for my taste – and anchored by the attractive grain of the bajón played by Nicholas Perry. From Hyperion’s point of view the sound is superb: warm and gently resonant. One intriguing feature of this performance is the double intonation on the Credo: in 16th-century Spain it was apparently common for this be heard twice as the Deacon cued the Celebrant, who would then proclaim the intonation to the congregation. Such details gesture towards liturgical verisimilitude, which combines with the passionate singing to create an extremely enjoyable and atmospheric recording. .

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Libreto Morales
Recorded in the Church of St. Jude-on-the-Hill, Hampstead, London, in July 1999 (polyphony) and August 2000 (solo plainchants) Engineered and edited by Nicholas Parker Assisted by Adrian Hunter Additional engineering (solo plainchants) by Peter Laenger Additional editing (solo plainchants) and mastering by Carlos Céster Produced by Nicholas Parker Executive producer: Carlos Céster Design: Carlos Céster Translations: Pedro Elías, Pierre Mamou, Bernd Neureuther On the cover: Virgin of the Assumption, Castille, last quarter of the 15th century Musée du Louvre, Paris Photo RMN - Hervé Lewandowski This recording is dedicated to the memory of Professor Sir Peter Platt (1924-2001) 2 Orchestra of the Renaissance Richard Cheetham, director Michael Noone, guest conductor JOSEP CABRÉ solo plainchants WILLIAM MISSIN countertenor FERGUS McLUSKY countertenor CHRISTOPHER WATSON tenor WARREN TREVELYAN-JONES tenor SIMON DAVIES tenor PHILIP CAVE tenor DONALD GREIG bass CHARLES GIBBS bass FIONA RUSSELL cornett BEATRICE DELPIERRE soprano & alto shawm WILLIAM LYONS alto shawm FRANCIS MERCET tenor shawm RICHARD CHEETHAM tenor sackbut PATRICK JACKMAN bass sackbut KATE VAN ORDEN dulcian SIOBHÁN ARMSTRONG harp ALASTAIR ROSS organ We wish to express our special thanks to Don Ramón Gonzálvez Ruiz, Don Ángel Fernández Collado, Bruno Turner, Graeme Skinner, and Juan Carlos Asensio 3 Assumption Mass Toledo Cathedral, ca. 1580 1 CRISTÓBAL DE MORALES Exaltata est Sancta Dei Genitrix 2:35 2 BERNARDINO DE RIBERA Beata Mater 2:54 3 ANTONIO DE CABEZÓN Tiento sobre el hymno
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Marcela García∗ RODRIGO DE CEBALLOS's MAGNIFICAT CYCLE
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