As long ago as 1969, Thomas Stanford and Lincoln Spiess published a book on Mexican archives containing music from the colonial period. Along with a useful overview of each archive, they included a list of the represented composers. Not having found authors of the so-called "Franco-Flemish school," both scholars drew on a local composer, Francisco Lo�pez Capillas (1614- 1674), who was given the nickname of "the Ockeghem of Mexico" because of the technical interest of his polyphony and the esoteric symbolism and learning in his masses. More than four decades later, this recording of two of his parody Masses, Re Sol and Aufer a nobis (both for four voices), and some of his motets is a homage to one of the most talented seventeenth-century composers active in the New World on occasion of the quarter centenary of his birth.