Galliard by Anthonie Holborne

Dates for Lute composers

W H Palmer on Morley and Holborne

In his book from 1908  Two Thousand Questions with Answers on Musical History, Biography, Form, Instrumentation, and Kindred Subjects W H Palmer says this 

441. What kind of  music had undivided sway in Elizabeth's reign, and what was the instrumental music of that period like ?

Vocal music; instrumental music was confined to Solo Performances and used as accompaniments to the Voice.

442. When did a great change thus take place, and what did Morley and Holborne do ?

In 1599. Morley printed a first book of Consort lessons for 6 instruments to play together, Anthony Holborne a collection of Pavans, Galliards and airs in 5 parts.

443. How were these works arranged for instruments?

Morley's for Treble Lute, Pandora, Cittern, English Flute, Treble, and Bass Viol; Holborne's for Viols, Violins, or for wind instruments. 

Kyle Datesman on the Holborne galliard

In a book called Renaissance Elizabethan Music for Banjo (!) Kyle Datesman says of the Anthony Holborne galliard on Tabernakel

In my opinion this is one of the most beautiful pieces ever written. I first heard it from a recording called "Tabernakel" by Jan Akkerman. It contains the most inspiring music that I have ever been exposed to and I have been affected by it considerably. He plays Archlute, which gives an extremely rich, full sound in the bass register. Akkerman's treble is truly ethereal and floats heavenward while his bass seems as if it can penetrate the deepest watery depths. His Archlute playing must be heard to be appreciated. Sadly, I believe that it is out of print.

When people ask me to name my favourite piece I often reply. "A Galliard by Anthony Holborne." Puzzled, they inquire "A Galliard, he wrote a number of them, which one??" This illustrates a big problem when discussing music of the period. Sometimes a musician may compose a dance for a patron, and then name it after them. Other times a tune would be composed and given a very generic title such as "a dance" or perhaps no title at all. This gets to be incredibly annoying to the modern musicologist who loves to taxonomize and pigeon-hole everything in neat packaged categories. They also come to despise it when people ask them their favourite tune. I assume that it was the fashion at the time to give pieces non-descript generic titles: for little mental exertion is called for to think of a catchy title and I have never met a musician who does not relish this.

This wonderful piece is a good example of a stylised dance which has evolved to be practically thorough-composed. It is also another piece which when played slow is pensive but when played briskly sounds like a fanfare. It is interesting for it can be moody even though it is in a major key. When played as a fanfare it sounds very stately but when played calmly the character of the piece comes out. This is how Akkerman treated it. and so that is how we shall look at it here.

The beginning is somewhat startling for the first three notes ascend very rapidly. This may catch some off guard as the beginning of a tune usually is not this animated. It goes from a low D to a high D within the space of two beats! But then perhaps sensing that this made some dizzy, it decided to settle in a D Major an octave lower in the second measure. The first part of the tune, measures #1-8, has this overriding theme: that of moving away from D Major only to return to it rather quickly. One gets the impression that the ice is thin everywhere except around D Major.

The second part, measure #9-24, however, takes a slightly different approach. This section begins and ends in D Major, yet all that falls within is basically centred around A Major. Measure #9, in some respects is the exact opposite of the first measure. Instead of ascending, here it descends to resolve into A Major in measure #10. The 10th-12th measures are over-whelmingly centred around this chord also. Measure #13 goes through a series of chord changes to resolve again to A Major in the next measure. The same theme is repeated in measures #14-16 - that of going through chord progressions of a measure or two only to resolve to a high A Major. The paths they take are quite different but the objective is both the same.

To re-emphasise the fact that this section is ruled by A Major it traversed its territory from a low A Major to a high one all in one beat in the 17th measure. It continued to reign in the next measure as well. Measure #19 is very interesting. Vertical block chords go from E minor to B7 then to E major in the following measure, The very last phrase measures #21-24 is very reflective and and is often repeated to provide for a good ending cadence.

Where in the first section it was cautious not to move far from D Major, the second has the very same feel but with A Major. It may stray, but it is never too far away. The tune has many interesting harmonies. There are many. many instances of very gradual resolutions - chords gently and cautiously creeping in and out of each other. Here we see a number of unusual chords being used in this regard. A7 (with added 2nd) is used to resolve to D Major in the 3rd, 4th, 9th and 15th measures, while Bb7 is seen in a similar situation in the 5th measure. A7 is used in measure #21, while the 13th measure uses C# minor in a similar way.

One notices that many 7 chords are employed. This is an example of the experimental atmosphere of the times where we see the newer theory interacting with the older. I would say the experiment was a success. Besides their avante garde chords one finds what one would expect to rind in a D Major piece. Yet, the tune cannot decide between E minor and E Major. B7 is used to resolve to E Major in measure #19, while B minor is seen in only one spot - measure #22.

The piece makes use of good effects as well. Note the ascending run in measures 15-16 and the vertical block transition at E minor to its major in measures 9-20. The opening ascension catches one's attention, while the surreal chordal uncertainties give it depth. 16th-note flurries are not placed haphazard but rather strategic. Absolutely the best.

A Galliard by Anthony Holborne Video

Analysis 02

1. A Fantasy. The old second side of the album begins with the fifth and final offering on solo lute. This track by Laurencini of Rome is the longest such track and the only one not by an English composer. It begins slowly but eventually warms up with quite a long run before subsiding again towards the end to something more sedate.

2. Lammy. Most of the old second side is taken up by a long track named for Akkerman's wife at the time. The track is divided into six sections that are fairly easy to distinguish.

1. I am (00:00-00:32)

We begin with alternating heavy organ from Akkerman and the four person chorus directed by Flynn. This is followed by a relatively lengthy caesura (00:33-00:34).

2. Asleep, Half Asleep, Awake (00:35-07:09)

Next comes an increasingly cacophonous woodwind, synthesiser and percussion section (00:35-01:59) which gives way to an again very atmospheric solo on electric sitar by Akkerman (02:00-02:46). It is the drums and bass with the sitar and later electric guitar strokes that wake us up (02:47-03:47). To be certain we are awake, this is followed by a drum solo (03:48-04:29) then bass and drums (04:30-07:09) with Akkerman's guitar coming into the rhythm at 04:51 and adding some runs from 05:51. This increasingly frenetic section ends with the crash of a loud gong.

3. She is (07:10-07:40)

Here we revert to the organ and chorus style of the first section.

4. Lammy (07:41-11:49)

After a caesura at 07:41 the violined and strummed guitars lead us into a beautiful drum backed section that features wonderful strings from 08:10. At 09:02 the romantic style winds down a little and there are a series of fresh injections of energy until we are ready to be led into the next section by the rich strings, which are pretty much unaccompanied  from 11:03.

5. Last will and testament (11:50-12:57)

At 11:50 the strings move on to the next theme, joined by the lute, first with a single strum (at 12:02) then with more. Flutes also come in at 12:04. Again the mood created by strings, flutes and lute is simply beautiful.

6. Amen (12:58-13:59)

The whole amazing piece is brought to a glorious end with a minute long a capella repetition of the word amen from the chorus. Prog rock at its very best.

Analysis 01

1. Britannia. What was originally the first side of Tabernakel begins with a Dowland track that at first features only solo lute. The lute is bright and brisk for a moment but then fairly sedate. It is supplemented firstly (from 00:48), under Flynn's baton, by flutes and strings. Then (at 01:18) a brisk beat is set up by Ray Lucas's drum kit (Akkerman also plays bass). At 01:46 Flynn brings in the horn section and we are soon in full concerto mode as the tune is explored by the various instruments. The contrast between horns and flutes is delightful. A brief ritartando brings us to a false ending at 03:16 and the briefest caesura before taking off again with a very jolly section that begins in “Camberwick Green” style but soars on horns before ending with the sonorous and satisfying twang of a deep bass lute string at 03:49 (the reverb taking us into 03:50).

2. Coranto for Mrs Murcott. Next come two solo tracks that feature only the 13 string lute Akkerman uses on the album. The first of these is by Francis Pilkington and is only 84 seconds long. It is played slowly and deliberately but very clearly. Mrs Murcott would be delighted.

3. The Earl of Derby, his galliard. Then comes a slightly longer Dowland track (01:50). This is the second track to feature only the lute. It starts quite slowly and with an air of mystery. The runs slowly pick up pace, however, and by the end there is some pace, the final one ending with some satisfying bass notes.

4. House of the King. We then have a contrast, with a fast and furious version of the first Focus hit. Appice's drums briefly introduce the piece (00:00-00:03) before the electric sitar Akkerman had recently discovered at this time takes up the lead (00:04-00:23). The orchestra then becomes more evident as does Akkerman's mad beating of a tambourine, which adds to the eastern feel of the piece. At 00:40 Flynn's strings become perhaps more lush before the sitar reasserts itself at 00:51. The middle eight (01:12-01:49) is ushered in and left behind with a gong and drums (01:08-01:11 and 01:50-01:53). The section itself makes full use of strings, flutes, guitars and some deft jazz drumming. The last 27 seconds whip through the sitar-led theme one final time before ending with a gloriously resounding gong.

5. A galliard by Anthony Holborne. After the excitement of House of the King we come back to earth with three more solo lute tracks. The first is by Holborne. Sedate and whistful, it is just over two minutes long and beautifully evokes a bygone age.

6. A galliard by John Dowland. The liveliest of the solo lute tracks comes next. Simply entitled A galliard here, Dowland wrote it for the Earl of Essex. It is only a shade longer than the second track. Basically brisk, it shows some variation in pace and volume with features akin to a sort of fanfare.

7. Pavan. The third lute track is a pavan by Thomas Morley. It is mostly very slow, slightly eastern, and, at just over three minutes, rather longer than the previous solo lute tracks. It takes us to a different place.
8. Javeh. Side one closes with the evocative Javeh, named for God, and co-written with George Flynn. Akkerman abandons his lute for a moment and takes up the Spanish guitar, which begins the track in rather eastern style (00:00-00:08) followed by a house of horrors interjection on the harpsichord by Flynn. The woodwind and strings then add to the mystery, the horns helping out too before drifting (at 00:45) into a paradisaical desert island theme produced by the guitar and orchestra that eventually becomes mournfully whistful, even nostalgic. A harp (01:23) and cymbals (01:31) can be heard as this theme is developed. At 02:01 the harpsichord draws us back in a more uncomfortable direction, the flamenco style guitar and orchestra continue to wrestle with the theme until a fairly satisfying resolution (via a glockenspiel trill and cymbals at 03:02-06) is reached at 03:20.

Composer Anthony Holborne

Anthony Holborne (c 1545–1602) is described in Wikipedia as a composer of English consort music during the reign of Elizabeth I. He entered Pembroke College, Cambridge in 1562 and was admitted to the Inner Temple Court in 1565. He married Elisabeth Marten on 14 June, 1584. On the title page of both his books he claims to be in the service of Queen Elizabeth. He died of a ‘cold’ in November 1602.

He was held in the highest regard as a composer by his contemporaries. Dowland dedicated the very first song I saw my lady weepe in his Second Booke to Holborne. His patron was the Countess of Pembroke, Mary Sidney. In the 1590s he entered the service of Sir Robert Cecil, the 1st Earl of Salisbury then Secretary for State.

His brother was William Holborne. Six of William's madrigals were included in the Cittarn Schoole. Anthony's first known book was the Cittarn Schoole of 1597, consisting of compositions for the cittern (a Renaissance mandolin). The preface indicates the pieces were composed over a number of years. He writes that the musical compositions are "untimely fruits of my youth, begotten in the cradle and infancy of my slender skill."

The Pavans, Galliards, Almains and other short Aeirs, both grave and light, in five parts, for Viols, Violins, recorders or other Musicall Winde Instruments was published in 1599 and consisted of 65 of his own compositions. It is the largest surviving collection of its kind. Most are of the pavan-galliard combination. Other pieces are of the allemande style. The rest are unclassified.

"The Fairie Round" from this collection was included on the Voyager Golden Record, copies of which were sent into space aboard the Voyager 1 and Voyager 2 space probes in 1977, as a representation of human culture and achievement to any who might find it.
On the album, Akkerman performs two Holborne tracks, one with orchestra as part of the Lammy suite (Last will and Testament) and a Galliard on solo lute (Track 5).

Composers

The tracks on the album were composed by Jan Akkerman and George Flynn along with five composers from the Elizabethan age (she reigned 1558-1603) the age of William Shakespeare, who lived 1564-1616.

These are

John Dowland 1563-1626

Francis Pilkington 1565-1638

Anthony Holborne c 1545-1602

Thomas Morley 1556/7-1602

Laurencini of Rome c 1550-1608