She herself was an effective performer, accompanying herself on the lute, without neglecting the melody of the viols that flourished in her beloved chapel.

The song-book of Ludovico Milliare (compiled in 1502 in Mantua, probably within Isabella’s circle) reflects this diversity. An entirely representative sampling of the musical tastes of the Este family is offered here, in which the Burgundian style, the Italo-Flemish tradition, adopted by the Northern musicians (Josquin, Isaac), and, of course, the awakening identity of the frottola players, is pursued without detriment to the pious zeal of sacred pieces intended for private worship.

In this rich and diverse repertoire, the London group Musica Antiqua is at ease, always at their best when the supple mezzo of Clare Wilkinson does not retreat behind purely instrumental transcriptions played by a consort of fine gambists. (It must be said that the director Philip Thorby has a preference for solutions that bring about a felicitous cross of solo voice and instruments with traditional polyphonic schemas). It is possible that a native-born Italian voice would have come even closer to defining Isabella’s musical dream. The fact remains that anyone who turns to this colourful evocation will not be making a purchase in vain - quite the contrary. ROGER TELLART