Album insights
On May 1, 1539, Isabella of Portugal, wife of Emperor Charles V, the most powerful monarch in Europe, passed away from puerperal fever. Tragically, the child did not survive either. Unlike many dynastic marriages of the time, the union between the Emperor and Isabella was characterized by genuine affection from the start. Devastated by Isabella's loss, Charles withdrew from state affairs and sought solace in a monastery, reflecting on God's will and praying for her soul.
To honor his beloved wife, Charles commissioned renowned artist Titian to create a series of portraits of Isabella. His deep desire for divine intervention, ensuring his salvation and reunion with Isabella in heaven, is best captured in Titian's Gloria. Charles held these portraits in high regard, as evidenced by selecting them among the few paintings he took to his final refuge at the Yuste Monastery in 1556.
Charles' enduring love for Isabella extended beyond visual art into music through compositions by Thomas Crecquillon. While little is known about Crecquillon, his works enjoyed great popularity during the 16th century, influencing later composers, including Monteverdi. Just as Charles patronized leading artist Titian, he also entrusted significant musical commissions to Crecquillon for important court events, showing his admiration for the composer.
The connection between the compositions and Isabella is reflected in the two Chansons Mort m’a privé, expressing personal sorrow and faith, mirroring Charles's grief over Isabella's death. Through intricate musical details, Crecquillon symbolically represented the Emperor and Isabella in different church modes, subtly conveying their roles and emotions in the compositions.
Crecquillon's intricate musical tapestry, integrating various compositions, even references other chansons in addition to the Chansons Mort m’a privé, to symbolize and convey complex emotions associated with Karl and Isabella. The diverse elements blended harmoniously, creating a rich musical narrative echoing Charles’s undying love and reverence for Isabella. Through subtle references and meticulous composition, Crecquillon crafted a musical tribute embodying Charles’s devotion to his departed wife.
In addition to the compositions close to the Emperor's heart, Crecquillon also composed three funeral motets for other imperial court members, each reflecting significant events and emotions. These poignant musical works, alongside triumphal compositions like Congratulamini mihi, depict a journey from mourning to joyful celebration, encapsulating the Emperor's enduring faith in unity beyond death with his cherished Isabella.