These recordings first appeared a few years ago as the first two volumes of a grand­looking survey of Spanish Baroque music on Deutsche Harmonia Mundi: Tess Knighton raved about them in these pages with all the barely contained excitement one might expect from a lifelong Hispanicist at last presented with the opportunity to hear what she had previously only been able to look at in libraries. Reading her reviews‚ one gets a strong whiff of dreams coming true. Well now they have been re­released on RCA Red Seal‚ and the good news is that they still sound as fresh and exciting as they did then‚ and that you certainly do not have to be a Spanish specialist to take pleasure in them. Credit for this goes primarily to the performances‚ directed with unstinting commitment and energy by Eduardo López Banzo. The irresistible rhythmic vitality which he brings to this music is the first thing you notice‚ but he also finds a more reflective quality when it is needed‚ and the music­making is never less than highly polished. All these qualities come together‚ too‚ in the set’s star performer‚ soprano Marta Almajano‚ a singer once described to me as ‘the Spanish Emma Kirkby’ – which is not to say that she sounds similar (on the contrary‚ she has a distinctive Spanish darkness to her voice) but that she is an artist of great interpretative intelligence and technique‚ and most early­music groups in Spain want her to sing with them. Why she has not become better known internationally is a mystery. As for the music‚ composers such as Durón‚ Literes and Torres may not be household names either‚ but their music gives enormous enjoyment. My immediate favourites from this well­made selection of predominantly vocal music for chamber and stage include Durón’s haunting Ondas riscos‚ pezes‚ mares‚ Torres’ wistful Al clamor‚ and Iribarrén’s foot­inspiring Viendo que Jil‚ hizo raya. Only the careless omission of the originals’ excellent documentation spoils the enjoyment of seeing these infectious recordings reappear at mid­price so soon. Indeed‚ to leave out texts and translations and offer only the barest of insert­notes for such unfamiliar music is nothing less than an insult to performers and listeners alike.