First recordings of sacred motets and villancicos by a forgotten figure of the Spanish Baroque. Juan Franc?s de Iribarren Echevarr?a (1699–1767) received his musical education at the Royal Chapel in Madrid. He was taught there by the composer Jos? de Torres who, in 1717, recommended that Iribarren be appointed organist at Salamanca Cathedral. Sixteen years later Iribarren moved on to become maestro de capilla at the Cathedral of M?laga, the city in which he spent the rest of his life. On his death there he left a huge library of his own music – with the proviso that it not be copied and only performed at services in the cathedral. Such constraints have until recently prevented this marvellously vivid music from receiving the attention it deserves. The present album presents a tasting menu of Iribarren’s work in various genres and from different periods of his career, Italian vocal styles over native, more vernacular idioms. There are four pieces written to mark the Immaculate Conception, composed over a 22-year period from 1743 to 1764, all unique in form, all devotional but quite different in material and expression. Irribarren’s technique encompassed transparent polyphony as well as solo-vocal motets of a homely, often bucolic character. Several pieces here were composed to accompany the exposition of the Blessed Sacrament, and these are more intimate in tone. The selection focuses on pieces written for one or two solo voices with a small accompanying ensemble, but during his time in charge of the music at M?laga Iribarren assembled a team of 30 singers and instrumentalists including a plainchant choir, cantors, wind and string players, organists and boy choristers. The composer, organist, harpsichordist and conductor Federico del Sordo has a diverse discography on Brilliant Classics encompassing the full range of his musical talents and reviving several little-known Baroque composers such as Fasolo (95512), Bonelli (95816) and Salvatore (95146). All of these recordings have drawn critical praise for del Sordo’s fine musicianship: ‘If early Baroque Italian devotional repertoire is an area that piques your interest, then this disc is as good a place as any to start, especially at its budget price. Recommended.’ (Fanfare, November 2016 – Salvatore)
