All the items in this recording are familiar but the manner of their presentation is not. While it is virtually certain that two lutenists (not least amateurs) often indulged in extempore adventures based on existing solo works or traditional grounds, there is no evidence that lute solo music was ever accompanied by a theorbo or gittern (a four-course Renaissance guitar). The validity of this recording is defended in the booklet-notes in terms which recall that old adage – that if something can happen, sooner or later it will. The fact that these two instruments were well established in England at that time does not prove that they were used in this way.

The presence of an accompanying instrument allows the ‘soloist’ to play the divisions more freely and expressively, and contributes to the fullness of the textures where appropriate. The theorbo adds fittingly to the gravitas of the solemn pavans. In the case of the two contrapuntal Fancies however, I find it a ‘bridge too far’, the unnecessary gilding of lilies.

José Miguel Moreno and Eligio Quinteiro are well matched in every respect and what they do is stylistically irreproachable. Providing that one accepts it for what it is, this is a most enjoyable and finely played programme. The annotation is extensive, interesting and well written, and the recording is of the highest quality.