Titian: Vence and the Music of Love

Titian: Vence and the Music of Love
Metronome Recordings, Ltd.
(MET CD 1052)

This recording, specially commissioned to complement the Titian exhibition last spring at London's National Gallery, offers a sampling of the kind of music that would have been played in the ridotti where Titian socialized with wealthy patrons, courtesans, and artists. In spirit, it is pure romance, celebrating the love of beauty, Venice, and the culture that flourished there.

Evidence suggests that Titian had close ties to the secular music of the 16th century. Musicians figure prominently in many of his works, and patrons such as Ruberto Strozzi frequently hosted gatherings that included the leading composers and singers of the day. Titian would surely have known Adrian Willaert, maestro di cappella of San Marco, as well many of his students. (One of them, Girolamo Parabosco, is believed to have posed for his Venus and the Organ Player.) Likewise, Titian would have been acquainted with the singer Polissena Pecorina, for whom Willaert wrote an impassioned madrigal.

Concordia, under the direction of Mark Levy, attempts to present the compositions as they would have been heard during those evenings, with madrigals mixed with solo singing, occasional dialogs, and instrumental performance. Although much of the material has been covered on other recordings, these performances easily rank among the best ever recorded. Soprano Rachel Elliot is a particular standout, especially on a piece such as Gabrieli's "Ecco Vinegia bella," where she provides a soaring top line to the male voices.

The instrumentals are solid throughout, including David Miller in several lute solos and Gary Cooper on harpsichord. Credit needs to be given Concordia, however, for not allowing any one element to predominate. Rather, the music itself is the star, and for those looking to immerse themselves in the true sound of renaissance Venice, this recording is highly recommended.

--Mary Dalton