This recording includes several of the most familiar, and finest, motets of the Spanish Renaissance sung, as the director is justifiably keen to point out in his notes, by a choir which has this music in its bones. This repertory is sung extensively by the choir, and its stylistic familiarity is evident right from the start. First come four motets by Guerrero, a wonderful composer who often seems to be in the shade of Palestrina, Byrd or, from his own native land, Victoria. ln Regina caeli laetare the eight parts positively fizz with energy, especially in so open, generous and dynamic a performance as this. The other three Guerrero motets are more reflective, but all are infinitely expressive, with gently unfolding lines creating an unhurried, devotional atmosphere. The slow tempi are handled with assurance, pitch does not waver, and breath control is secure. Five composers are represented by a single work. AII are quite slow (with a brief contrast at the 'alleluias' of the Esquivel), but such is the quality of the singing that there is no sense of boredom or repetitiveness. All are beautiful, and expressively sung, but Morales’ Peccantem me quotidie stands out for its extraordinary start, and the exceptional level of emotional involvement which it packs into a four-page, four-minute, four-voice motet. Sebastian de Vivanco's extended Dulcissima Maria is another highlight—what a heartfelt offering of devotion to Our Lady it is, and sung with absolute sincerity. Three motets by Victoria follow, although both the Ave Maria settings are split into two parts, so effectively we get five for the price of three. The two settings of Ave Maria are quite contrasting, one concise setting for four voices, and one considerably more extended setting in eight parts. These are followed by the evergreen O quam gloriosum est regnum which receives a radiant and lively performance. The patronage of Philip II was responsible for the creation of much of this stunning Spanish repertoire, and it is fitting that one of its supreme masterpieces, Lobo's Versa est in luctum, should have been composed on his death. This is highly charged music, and its passionate intensity finds full expression here. The disc ends with another Lobo motet, his six-part setting of O quam suavis est. Sitting listening to this sublime music in lockdown, one can almost believe that all is well in the world. Thank you to the singers, conductor, engineers and composers for providing some light in a dark world.