Of all the musical instruments played during the Renaissance era, the Spanish vihuela de mano (“viol of the hand”), stands out as one of the most fascinating and mysterious. Although it is
not known when the vihuela made its first appearance on the Iberian Peninsula, it soon became the most popular instrument in Renaissance Spain. The extant repertoire for the vihuela represents some of the richest and most beautiful music from the Renaissance era. The seven books of vihuela music that remain comprise approximately 750 individual compositions, or roughly 50% of the music printed in Spain during the entire 16th century.

Silva de Sirenas ("Sylvan wood of Sirens"), is a collection of vihuela music originally composed or set by the vihuelista Enriquez de Valderrabano, who probably worked in the court of the Conde de Miranda, the dedicatee of his book.

Published in Valladolid (1547), Valderrabano's book was highly esteemed in its day and it has the historical distinction of being the only book to contain music for two vihuelas. The duets heard on this recording comprise the entire fourth section (“Libro IV”) of Silva de Sirenas. Valderrabano’s book included differencias (theme and variations), and intabulations (arrangements on the vihuela) of vocal works by Josquin, Gombert, Willaert, Mouton, Morales, as well as his own.

Valderrabano created his duets for instruments in various tuning combinations. Therefore, it requires five different vihuelas to perform these works! These include two vihuelas tuned in unison (nominally in G), plus a vihuela tuned a minor 3rd higher, a 4th higher, and one a 5th higher. The five instruments used on the recording were constructed by luthier Daniel Larson and are based on the anonymous vihuela in the Cité de la Musique in Paris, numbered E.7048. Surprisingly, when considering the popularity of the vihuela in Renaissance Spain, vihuela E.7048 is apparently the only instrument built in the 16th-century that survives in completely original condition today.

Vihuela E.7048 is known as the "chambure" vihuela because it was formerly in the collection of the late Geneviève Thibault, Comtesse de Chambure. Interestingly, it’s unique shape is not found in iconographical sources from the 16th century. It is remarkable for the exquisite construction of the back, which has ribs that are curved in both directions, making it both vaulted and fluted. The instrument is 64 cm. in length, making it ideal for a baritone pitched instrument in F. To complete the consort of vihuelas, Larson constructed proportionally identical instruments at 59 cm. in G, 49 cm. in Bb, and 45 cm. in C. These four instruments make it possible for the duets in Valderrabano’s Silva de Sirenas Libro IV to be performed on this recording. They are perfectly matched in sound, as well as appearance, and the transparent clarity of their sound is well-suited for the delicate polyphonic pieces recorded here.