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Anthony Holborne: The Fruit Of Love

Holborne / L'acheron / Joubert-caillet
Release Date: 03/25/2014 
Label:  Ricercar   Catalog #: 3392   Spars Code: DDD 
Composer:  Anthony Holborne
Conductor:  François Joubert-Caillet
Orchestra/Ensemble:  L’achéron
Number of Discs: 1 
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Notes and Editorial Reviews



HOLBORNE The Fruit of Love François Joubert-Caillet (vl, cond); L’Achéron RICERCAR 339 (69:09)


In his day, Anthony Holborne (c. 1545–1602) was a highly respected composer and instrumentalist. His patrons included Robert Cecil, the first Earl of Salisbury; Mary Sidney, Countess Pembroke; and Elizabeth I. He wrote dedicatory introductions to publications by Thomas Morley and Giles Farnaby, and Dowland dedicated his song I saw my lady weep to Read more him. Upon Holborne’s death he was quickly forgotten, as were many of his contemporaries, only to experience a considerable revival in the 20th century. Today his music is often recorded in excerpt as part of larger collections, but occasionally in releases devoted entirely to his works.


One of Holborne’s pieces, The Fairie Round , was part of the so-called Voyager Golden Records sent with space probes Voyagers 1 and 2, to represent the cultural achievements of humanity. It was part of the composer’s 1599 publication Pavans, Galliards, Almains, and other short Aeirs both grave and light, in five parts, for Viols, Violins, or other Musicall Winde Instruments . This was to be his only published music not written for solo plucked instruments and, at a total of 65 dances, a very large collection for its time and place. Many of the works are given titles, some clearly drawn from songs, but 53 are either pavans or galliards—the majority of these in paired association. The music thus alternates between the more stately and the more lively, though Holborne’s excellent five-part writing makes it clear these pieces were intended more for listening pleasure than actual dancing.


Publishers of the day realized they could make decent money off the sale of music to a thriving middle and upper class, at a time when music-making was both an important element of private entertainment and a marketable skill to attract good marriages. To maximize sales, composers often indicated that their works could be performed by a wide range of instruments. Holborne’s title above indicates as much, and François Joubert-Caillet takes his cue from this. L’Achéron opts here for a traditional viol consort, abetted by a pair of musicians on plucked string instruments that Holborne was known to specialize in: the lute, cittern, and bandora. Finally, they’ve included the very occasional use of a virginal and ottavino (small spinet). While keyboards aren’t mentioned by Holborne, they are in other sources of the period, and they’re deployed with discretion—most obviously, and to excellent effect, as a solo in the opening statement of Paradizo —and a combination of plucked instruments and ottavino alone perform an unnamed Almain of obviously Italianate origin.


Mention of this brings to mind that other recordings prefer different arrangements. Jordi Savall and Hesperion XXI (Alia Vox 9813) give a greater role to lutes, and Pedro Estevan adds a bit of light percussion in such pieces as The Honie-Suckle . Skip Sempé and Capriccio Stravagante (Paradizo 1) opt to mix viols and solo flute, with generally good results. I would place L’Achéron squarely between these two as a balance of dance and abstract listening. Savall clearly wishes to emphasize the dance aspect of Holborne’s music, while Sempé focuses less on rhythms than on rich textures and, at times, almost Romanticized dynamics in the phrasing. Joubert-Caillet is a bit slower than either in many instances, but with more forward impetus than Sempé.


Those three versions are my current favorites; and if I had to choose, this would be my preferred one, with close, richly textured sound. But only by a hair over Savall; so if you have that one, you’re probably good to go. If not, however, I strongly recommend this recording.


FANFARE: Barry Brenesal
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Works on This Recording

1.
Pavans, Galliards, Almaines (65): The teares of the Muses by Anthony Holborne
Conductor:  François Joubert-Caillet
Orchestra/Ensemble:  L’achéron
Period: Renaissance 
2.
Pavans, Galliards, Almaines (65): The night watch by Anthony Holborne
Conductor:  François Joubert-Caillet
Orchestra/Ensemble:  L’achéron
Period: Renaissance 
3.
Pavans, Galliards, Almaines (65): The image of melancholly by Anthony Holborne
Conductor:  François Joubert-Caillet
Orchestra/Ensemble:  L’achéron
Period: Renaissance 
Written: by 1599; England 
4.
Pavans, Galliards, Almaines (65): The Honie-suckle by Anthony Holborne
Conductor:  François Joubert-Caillet
Orchestra/Ensemble:  L’achéron
Period: Renaissance 
5.
Pavans, Galliards, Almaines (65): The Funerals by Anthony Holborne
Conductor:  François Joubert-Caillet
Orchestra/Ensemble:  L’achéron
Period: Renaissance 
Written: by 1599; England 
6.
Pavans, Galliards, Almaines (65): The Fairie-round by Anthony Holborne
Conductor:  François Joubert-Caillet
Orchestra/Ensemble:  L’achéron
Period: Renaissance 
Written: by 1599; England 
7.
Pavans, Galliards, Almaines (65): The choise by Anthony Holborne
Conductor:  François Joubert-Caillet
Orchestra/Ensemble:  L’achéron
Period: Renaissance 
8.
Pavans, Galliards, Almaines (65): Pavan by Anthony Holborne
Conductor:  François Joubert-Caillet
Orchestra/Ensemble:  L’achéron
Period: Renaissance 
9.
Pavans, Galliards, Almaines (65): Paradizo by Anthony Holborne
Conductor:  François Joubert-Caillet
Orchestra/Ensemble:  L’achéron
Period: Renaissance 
Written: by 1599; England 
10.
Pavans, Galliards, Almaines (65): Last will and testament by Anthony Holborne
Conductor:  François Joubert-Caillet
Orchestra/Ensemble:  L’achéron
Period: Renaissance 
11.
Pavans, Galliards, Almaines (65): Infernum by Anthony Holborne
Conductor:  François Joubert-Caillet
Orchestra/Ensemble:  L’achéron
Period: Renaissance 
Written: by 1599; England 
12.
Pavans, Galliards, Almaines (65): Galliard by Anthony Holborne
Conductor:  François Joubert-Caillet
Orchestra/Ensemble:  L’achéron
Period: Renaissance 
13.
Pavans, Galliards, Almaines (65): Ecce quam bonum by Anthony Holborne
Conductor:  François Joubert-Caillet
Orchestra/Ensemble:  L’achéron
Period: Renaissance 
Written: by 1599; England 
14.
Pavans, Galliards, Almaines (65): Bona Speranza by Anthony Holborne
Conductor:  François Joubert-Caillet
Orchestra/Ensemble:  L’achéron
Period: Renaissance 
Written: by 1599; England 
15.
Pavana ploravit by Anthony Holborne
Conductor:  François Joubert-Caillet
Orchestra/Ensemble:  L’achéron
Period: Renaissance 
Written: 16th Century; England 
16.
Muy Linda by Anthony Holborne
Conductor:  François Joubert-Caillet
Orchestra/Ensemble:  L’achéron
Period: Renaissance 
Written: 16th Century; England 
17.
Galliard no 3 "Fairy Round" by Anthony Holborne
Conductor:  François Joubert-Caillet
Orchestra/Ensemble:  L’achéron
Period: Renaissance 
Written: 16th Century; England 
18.
Galliard no 2 by Anthony Holborne
Conductor:  François Joubert-Caillet
Orchestra/Ensemble:  L’achéron
Period: Renaissance 
Written: 16th Century; England 
19.
Galliard no 1 by Anthony Holborne
Conductor:  François Joubert-Caillet
Orchestra/Ensemble:  L’achéron
Period: Renaissance 
Written: 16th Century; England 
20.
Almain "Fruit of Love" by Anthony Holborne
Conductor:  François Joubert-Caillet
Orchestra/Ensemble:  L’achéron
Period: Renaissance 
Written: 16th Century; England 
21.
Almain by Anthony Holborne
Conductor:  François Joubert-Caillet
Orchestra/Ensemble:  L’achéron
Period: Renaissance 
Written: England 
22.
Galliard no 4 by Anthony Holborne
Conductor:  François Joubert-Caillet
Orchestra/Ensemble:  L’achéron
Period: Renaissance 
Written: England 

Sound Samples

Pavans, Galliards, Almains and Other Short Aeirs both Grave, and Light: Th e Fruit of Love
Pavans, Galliards, Almains and Other Short Aeirs both Grave, and Light: Galliard
Pavans, Galliards, Almains and Other Short Aeirs both Grave, and Light: Bona Speranza
Pavans, Galliards, Almains and Other Short Aeirs both Grave, and Light: Galliard
Pavans, Galliards, Almains and Other Short Aeirs both Grave, and Light: The Night Watch
Pavans, Galliards, Almains and Other Short Aeirs both Grave, and Light: Last Will and Testament
Pavans, Galliards, Almains and Other Short Aeirs both Grave, and Light: Hermoza
Pavans, Galliards, Almains and Other Short Aeirs both Grave, and Light: Muy Linda
Pavans, Galliards, Almains and Other Short Aeirs both Grave, and Light: Infernum
Pavans, Galliards, Almains and Other Short Aeirs both Grave, and Light: Galliard
Pavans, Galliards, Almains and Other Short Aeirs both Grave, and Light: Pavana Ploravit
Pavans, Galliards, Almains and Other Short Aeirs both Grave, and Light: Ecce quam bonum
Pavans, Galliards, Almains and Other Short Aeirs both Grave, and Light: The Choise
Pavans, Galliards, Almains and Other Short Aeirs both Grave, and Light: The Teares of the Muses
Pavans, Galliards, Almains and Other Short Aeirs both Grave, and Light: The Funeralls
Pavans, Galliards, Almains and Other Short Aeirs both Grave, and Light: Almaine
Pavans, Galliards, Almains and Other Short Aeirs both Grave, and Light: Pavan
Pavans, Galliards, Almains and Other Short Aeirs both Grave, and Light: Galliard
Pavans, Galliards, Almains and Other Short Aeirs both Grave, and Light: Paradizo
Pavans, Galliards, Almains and Other Short Aeirs both Grave, and Light: The Honey-Suckle
Pavans, Galliards, Almains and Other Short Aeirs both Grave, and Light: The Fairie-Round
Pavans, Galliards, Almains and Other Short Aeirs both Grave, and Light: The Image of Melancholly

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