Akkerman on Bream

 See this Sal Cataldi article here.

Death of Julian Bream

Sad to hear of the recent death of Julian Bream guitarist and lutenist

Provenance

Provenance is a 2011 enovel by Robert S Field which one could say was inspired by Tabernakel. The author, who played classical guitar, discovered the lute through Akkerman's album and went on to discover also Julian Bream and to play himself.
Regarding the novel we are told

A lute of exquisite workmanship and beauty is crafted in Italy in the dark age of the mid 15th century by a master luthier, Francesco Ippolito da Cremona the Renaissance musician fated to play it to great acclaim, the bulk of his musical legacy composed upon it. But this lute is more than mere musical instrument; it is a memorial to love lost in a brutal tragedy. By the passion invested in it by its maker, and its embodiment of the relics of tormented love, it is imbued with the power to enchant, its enchantment released by the hands of its destined player. 

Against the evidence of history, the lute survives to the present day and along with a rare manuscript of Francesco Ippolito lute tablature, falls into the hands of Bob Roberts, an incurably romantic middle-class professional whose escape from a deeply unromantic life is to immerse himself in the lute music of the Renaissance. The lute is an unexceptional wreck when Bob acquires it, but he commissions its restoration and gradually its provenance is unveiled, the final revelation astonishing. 

The lute and Ippolitos music exert a powerful influence upon Bobs life that hints of deep unrest and a vague connection with lives long gone, as if lute and tablature combine in a conduit through which spiritual energy moves from past to present. 

This is a story of music across the ages, of obsession and betrayal, of destiny and, above all, of true love.

Lutes

This article on lutes is from the atlaas of plucked instruments here.

Lutes belong to the oldest plucked instruments. Lute-like instruments have been found in archeological remains in the Middle East and the Far East from as long as 4000 years ago. 

In Europe lutes were the most popular instruments for a few hundred years, especially from 1400 to 1800. This can be seen from the large volume of books and manuscripts from that period. 

The lute (both the instrument and the name) derives from the Arabian lute, the Ud("El Ud" - or Oud), which is still much played (see Middle East). The instrument probably reached West Europe from the Middle East via the Moors in Spain, or was brought home by the Crusadors.

Music for it was always written in tablature - a way of music notation specially for plucked stringed lute-like instruments, where not the pitch is notated, but which string on which fret has to be plucked. Several different systems were in use (Spanish, French, Italian and the most complicated: German), but all on the same basis: string + fret.

The lute era ended around 1750, when music (especially Bach's) became too complicated to be played by non-professionals on the lute, and was played more easily on keyboard instruments, like the then popular harpsichord and pianoforte.

The number of strings on a lute slowly increased from about four courses on early medieval lutes to theorbe lutes with many extra bass strings, fitted to extra long necks, reaching finally a total of 14 (double) courses, or 26 strings in total. Since the Middle Ages there were always double strings in a course.

Akkerman talks about the album

David Bowie on the night in question

For the recently published Box Set of Akkerman albums Jan has commented on each of the albums for a booklet that accompanies the 26 discs. On Tabernakel he has written

This album proved a great opportunity. Producer Geoffrey Haslam introduced me to arranger George Flynn insisting "Jan, he's your man". Thanks to Atlantic boss Ahmet Ertugun, engineer Gene Les Paul (son of) and the New York Philharmonic came on board. We made the album in a week.(1)  From my perspective, new instruments such as Moog synthesizers (2) in the seventies marked a musical renaissance. I wanted to connect the modern with traditional lute music and that was the general philosophy behind Tabernakel. Once I'd discovered old Mediaeval lute material and Julian Bream's work (3), I immediately went to Cambridge University to make photocopies of the tablatures (4). I only found out later that I could have bought them at Schott's music on Great Marlborough Street in London! (5) At the time I couldn't incorporate any lute playing in Focus so I recorded it for my third solo record instead. To record the lute, Gene plastered the instrument with so many Barcus Berry pick-ups (6) (purchased at Mannys in NYC (7)) that consequently it looked like a hospital patient! I knew Tim Bogert and Carmine Appice from Vanilla Fudge (8) and they were great guys to record with and understood exactly how I wanted to do things.

House of the King was done on the Coral electric sitar, (9) an instrument I discovered in the States in early 1973, and I use a genuine sitar on the record

Javeh, (10) the Jewish name for the Lord, came to me while staring upon the wide landscape of Friesland where I was living at the time. The piece starts a little restlessly but turns into an impressionistic and calm piece. In February 1974, I wanted to perform Javeh at the prestigious Grand Gala du Disque (the Dutch equivalent of the grammys) (11) and invited George Flynn to assist the orchestra with the arrangements. The performance, which was performed live on television, didn't go to plan and I decided to play solo. After the first few bars, I felt uncomfortable and decided to walk away. This happened in front of David Bowie and other celebrities (12), but I've never regretted it for a moment.

(1) Sounds like a slight exaggeration but maybe not

(2) See Wikipedia article on the Moog here

(3) See Wikipedia on Julian Bream here

(4) These days the tablatures from Cambridge are online. See here.

(5) See here

(6) In 1963, experiments initiated by violinist John Berry and electronics visionary Les Barcus, gave birth to the first ever piezo crystal transducer for musical instruments. Many further innovations have been made since. For more, see here.

(7) There from 1935-2009. See this Wikipedia article here.

(8) See Wikipedia article here

(9) See an article on the Coral here

(10) See Wikipedia article here

(11) The event on Friday February 15 was the last time the event was televised. For details of the many others performing that day see here.

(12) David Bowie is not listed above but he is mentioned here on Wikipedia.

Instruments used on the album

Dowland and Pilkington

Galliard by Anthonie Holborne

Britannia Live

Dates for Lute composers

Alternatives 8 Alexandros Zervos Fantasy by Laurencini

Alternatives 7 Julian Bream Morley Pavan

Alternatives 6 Elizabeth Brown Galliard

Alternatives 5 Julian Bream Galliard by Holborne

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.

Akkerman with Grossman, Jansch and McTell

This remarkable full length show first broadcast on Danish TV in 1975 was presented by Stefan Grossman along with Bert Jansch, Ralph McTell and, slightly egregiously, Jan Akkerman, who played in the opening and closing jams and on guitar and lute (around 23 minutes in). The dialogue was in English with Danish subtitles. Akkerman was living in Denmark at this time. This is just the lute segment.

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.

Dowland at the Rainbow

This is the famous lute encore given by Akkerman following the Focus concert

at the Rainbow Theatre (You will have to watch it on Youtube).

The Lute Album

This album does not exist but you could make it fairly easily.

Track listing

1  Delitae Musicae by Anonymus (Hamburger Concerto)

2  Minstrel/Farmers Dance by Jan Akkerman (Profile)

3  Kemps Jig by Anonymus (Profile)

4  Earl Of Derby, His GaIliard by John Dowland (Tabernakel))

5  Coranto For Mrs Murcott by Francis Pilkington (Tabernakel))

6  A Galliard by Anthonie Holborne (Tabernakel)

7  A Galliard by John Dowland (Tabernakel)

8  A Pavan by Thomas Morley (Tabernakel)

9 A Fantasy by Laurencini of Rome (Tabernakel)

10 Elspeth Of Nottingham by Jan Akkerman (Focus III)

11 Lammy (extract) Last Will and Testament by Anthonie Holborne (Tabernakel)

12 Britannia by John Dowland (Tabernakel)

Bonus Tracks

1. Countess of Pembrooks Paradise by Anthonie Holborne (Passion - Guitar)

2. Muy Linda by Anthonie Holborne (Passion - Guitar)

3. The knight of the lute by Anonymus (Passion - Guitar)

4. Britannia by John Dowland (encore Focus at the Rainbow)

Other Lute Tracks

Apart from the lute tracks on Tabernakel there are very few examples of Akkerman playing the lute that are generally available. The only ones are

With Focus:
1. Elspeth of Nottingham* (Focus 3) with flute and some percussion
2. Delitae Musicae (Hamburger Concerto) with recorder
Recordings are also available of Akkerman doing Britannia as an encore at the Focus at the Rainbow gig

Solo (Profile)
1. Kemp's Jig
2. Minstrel/Farmer's dance*

(* Both Akkerman's own compositions)

We might add that on the acoustic album Passion, there are three lute tracks played on acoustic guitar:

1. Countess of Pembrooks Paradise (Holborne/Akkerman)
2. Muy Linda (Holborne/Akkerman)
3. The knight of the lute (Unknown/Akkerman)