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In the middle decades of the XVI century, the musician and vihuelist Diego Pisador, in his “Libro de Musica para vihuela” (Salamanca, 1552) includes arrangements for vihuela of seven whole masses of the great Franco-Flemish composer Josquin Desprez. The transcription and performance of vocal music of the great masters of the time not only helped to broaden the repertoire for lutes and vihuelas but also contributed to a new and intimate performance practice outside the realm of ecclesiastic environments.
El Canto del Caballero centuries after has decided to increment this musical corpus adapting in this fashion one of the most important and emblematic works of the renaissance: The 1583 version of the “Requiem in Four Voices” by Tomás Luis de Victoria.
