Esquivel: Missa Hortus conclusus, Magnificat & motets
De Profundis, Eamonn Dougan
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.
[...] 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.
To read the full text of this article please visit www.gramophone.co.uk (May 2020)