Album insights
Robert Stevenson, a prominent music scholar specializing in Spanish repertoire, dedicated the main sections of his work "Spanish Cathedral Music in the Golden Age," published in 1961, to Cristóbal de Morales, Francisco Guerrero, and Tomás Luis de Victoria. In 1993, the expanded version of the book was released in Spanish, greatly benefiting a second trio of composers highlighted separately by Stevenson. Alonso Lobo, with his modest yet brilliant collection, emerged, Sebastián de Vivanco reaped the rewards of excellent research from the 1970s and 1980s, and Juan Esquivel gained stature significantly after the emergence of an extensive print from 1613, containing a variety of compositions. The volume comprises one of the largest music collections of that era, spanning 598 pages. The discovery of this treasure was credited to Robert Snow, a contemporary of Stevenson, who stumbled upon it during a visit to Ronda in 1973, encountering a custodian at Santa Maria de la Encarnación, nicknamed "catedral," who had hidden the Esquivel volume and a few ancient chant books during the ravages of the Civil War.
Esquivel published two additional prints: a book containing six masses (Missarum … liber primus, Salamanca 1608) and one featuring seventy motets and an In paradisum from the same year. Both were printed by Artus Taberniel, succeeded by Francisco de Cea Tesa, responsible for the powerful 1613 volume.
Regarding Esquivel's background, he was born in Ciudad Rodrigo, about a hundred kilometers southwest of Salamanca near the Portuguese border, with his birth year likely around 1560. Details of his life are sparse until he assumed his first position at Oviedo Cathedral. He moved to Calahorra (La Rioja) in 1585 before returning to his hometown in 1591 until his passing. Throughout his career, he was supported by Don Pedro Ponce de León, the Bishop of Ciudad Rodrigo and later of Zamore. Esquivel likely lived until about 1630; however, exact dates are vague due to missing cathedral records pre-1640s.
Esquivel's Messe de Notre Dame opens the collection, showcasing an array of compositions for masses and the Divine Office. His last mass from the 1613 print is based on the motet Hortus conclusus by Rodrigo de Ceballos, known widely and included in manuscripts across various regions. This enigmatic piece resides at the intersection of the divine and earthly realms, offering a unique exploration of sacred themes. Esquivel skillfully integrates Ceballos's material into his compositions, creating a musical sanctuary that resonates with intricate harmonies and evocative passages.
Within the mass, Esquivel maintains the four-part harmony of the original motet, enriching it by expanding to five parts with layered tenor voices in the Agnus Dei section. The inclusion of the "Deo gratias" response at the end adds a unique touch to the composition. Moving through the mass's progression, various components such as the Credo, motets, and other chants weave a complex tapestry of spiritual reverence and musical innovation.
Transitioning from the mass to the Vespers and Compline, the ritualistic themes continue, encompassing a diverse array of compositions. The liturgical reforms post Council of Trent ensured a unification of regional practices with Roman liturgy across Spain. Marian antiphons like Alma redemptoris mater and Ave regina caelorum were integral components of this restructuring, representing a blend of local traditions with Roman influences. While Spanish cathedrals adhered to their unique customs, adaptions were made to embrace the broader Roman liturgical framework.
Esquivel's musical adaptations of revered Marian and Compline chants offer a glimpse into the rich tapestry of sacred music in Spain during the Golden Age. Through meticulous polyphony and melodic interplay, Esquivel's compositions transcend mere musicality, weaving together sacred texts with spiritual contemplation in harmonious unity. Each piece stands as a testament to Esquivel's unparalleled craftsmanship and deep devotion to the divine through the medium of music.