El Cortesano is the title of a book published in Valencia in 1561 by Luys Milan, who was clearly inspired by Castiglione's work, which defined the Italian model of the refined "courtier" and expert musician that was gradually going to impose itself in all of Europe. Aesthetically, this title is essentially linked to vihuela music - as soloist or accompanying the voice. The vihuela is a somewhat mysterious Iberian instrument that, in Spain and Portugal, took the place of the lute, differing from the latter with its flat shape and slight inward curve at the waist. Today, El Cortesano is the concept made up by the performers of the present release, representing an attempt to reveal the rich, varied repertoire of the Iberian Peninsula during the Renaissance. In no way tired down to a set formation, El Cortesano's mission is to become a flexible ensemble, with the fields of research determining the group's size, and spirit prevailing over form. This approach obviously lies within the entente of the finest Spanish musicians who, over the past three decades, have successfully carried out a reappraisal of the music composed in the peninsula. This album is Jose Hernandez Pastor's first - or at least the first that is devoted entirely to him, for he has recorded with various ensembles, notably those of Jordi Savall. Still quite young, this student of Andreas Scholl demonstrates surprising maturity in the way in which he intends to conduct his career: no "star system" for him, but rather an approach based on research, reconstruction, poetic expression and the links between text and music. With Ariel Abramovich, a sensitive, subtle Argentine lutenist who shares his ideals, he forms an uncompromising team from whom we may expect a great deal: a new generation of pure, noble artists.