This CD was launched
in November 2004 to mark the Raphael
exhibition at the National Gallery in
London, one of the most popular exhibitions
ever staged. Raphael was one of the
most popular artists in many ways although
the perfection of his work seems more
Godlike than human. The music chosen
here is both sacred and secular and
also links in, somewhat confusingly,
with a book by Baltassare Castiglione,
a man whose sympathetic portrait Raphael
had painted. The advertising for the
CD tells us that "The classic book
‘The Book of the Courtier’ was the starting
point for this recording", and
it continues ".... the book contains
detailed discussion of the court music
of Raphael’s time in Urbino, his birthplace."
Castiglione says at
one point (Penguin edition page 319)
that the courtier should possess "many
virtues, such as justice, generosity
and magnanimity, which his own greatness
will enable him to practise easily until
it becomes habitual". And of Raphael,
Vasari comments ..."an artist as
talented as he was gracious, who was
endowed by nature with the goodness
and modesty to be found in all exceptional
men" (Penguin Volume 1, page 285)
To chime in with its
double subjects the CD gives us the
sacred and secular: Raphael whose paintings
mostly took religious subjects and Castiglione
the urbane court intellectual. In addition
the style of the music is very cosmopolitan.
The Orlando Consort have been asked
to record the sacred works; ‘I Fagiolini’
the secular vocal pieces, sadly only
two. The viol consort ‘Concordia’ take
part in four pieces. The lutenist Christopher
Wilson plays one five tracks including
two cool and elegant solos. All of these
artists have recorded for Metronome
before.
Josquin and Isaac were
from the ‘Low Countries’ originally,
although both worked in Italy. Isaac’s
Easter Mass is the main work in terms
of length and it ends the CD. I should
add that we have here only the mass
propers. These include, for example,
the Graduale and the Communion suitable
for the Easter festival. The mass movements
such as the Gloria and Sanctus are absent.
Mysteriously, the CD booklet does not
print the texts of the propers although
all other texts are given. I find this
mass a rather ordinary piece measured
by Isaac’s norm. Fortunately we are
offered the composer’s beautiful setting
‘J’ay pris amours’ which attains his
usual ingenious standard with its logical
and powerful counterpoint. For contrast
there are some lively frottola by Marchetto
Cara who, we are told, gets a mention
in Castiglione’s book. I could not find
the reference in the Penguin Classics
edition but never mind.
Christopher Wilson
makes a delicious contribution with
some solo tracks; especially attractive
is a Ricercare by an Italian, Spinacino.
The Orlando Consort
has recorded a complete disc of Compère
back in 1993 (Metronome CD 1002-01)
where they seem to me in better form
than at present. On that earlier disc
can be heard the short arrangement of
the folk tune ‘Scaramella’ but not the
glorious ‘Crux Triumphans’ heard here.
I have already alluded
to the booklet notes. They are anonymous
and adequate but some of the works and
composers featured on the disc are not
mentioned. However the booklet is adorned
with some glorious Raphael images which
are most delightful and beautifully
reproduced.
I must add also that
my disc has a fault in that tracks 6
to the end cannot be accessed separately
except by searching through from track
5, so if you do decided to purchase
this disc check this out first.
Sadly, I found it difficult
to wholly recommend this disc although
it sells at mid-price. It does however
give an overall view of music around
1510 and as an introduction to the music
of that era it may well be useful.
Gary Higginson
Orlando Consort; I Fagiolini; Concordia; Christopher
Wilson (lute) 
