What is the Future of the Lute?

Brandon Acker interviews guitarist/lutenist Rob MacKillop about the future of the lute.
Watch the full hour long interview: • My Interview with Rob ...
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Timestamps:
0:00 The future of the lute
2:29 The oud
4:15 The intimacy of KZbin
5:30 A historical quote
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I am Brandon Acker. I create guitar tips, classical music covers, educational videos about rare plucked instruments, tutorials, and more! Consider checking out my new online guitar course: classicalguitar-pro.com and supporting me on my Patreon / brandonacker
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#guitar #brandonacker #lute

[@KarenPautz]

I love the "lute should be played for three people," and MacKillop says that's "two too many." A good reminder that we should play for ourselves and not always think about wowing an audience.

[@markus-hermannkoch1740]

It is a miracle of our time that millions can listen to music that had in fact been reserved for nobly selected audiences of three. And these millions do. I think with confidence that your channel is listened-to by many more people than John Dowland ever performed to. Being from rather humble stock myself, I am among them.

[@ianflurrance8438]

This part really stuck out to me when I was listened to the full interview. In many ways I think we are in a huge lute revival, I think channels like yours and Rob’s are a big part of that. The lute has never been more accessible! I do hope to see more players push it into new and different territory, as I think that will only make it grow more. I’m saving up for a Le Luth Dore myself and can’t wait to call myself a lutenist.

[@eugeneross6624]

Wonderful video! I appreciate that you encourage exploration on the lute! Without new input, no instrument can survive outside of historical performances (which I do love) and museums, so it is good to see acceptance of the continued evolution of the lute!

[@melissamusick8300]

Musicians like Brandon and Rob are definitely bringing us Back to the Luture!

[@techslfink9722]

I love old music on traditional instruments but I also love those instruments in new music. It brings new sounds and breathes life into forgotten sounds and music.

[@dyefield2712]

I've actually considered trying to play the renaissance lute with banjo picks before.

[@kirbymarchbarcena]

I hope many musicians could play the lute and other classical instruments

[@Mikemcjr]

Brandon Acker is the future of the lute

[@cartilagehead6326]

I want to see jazz lute. I want to see Philip Glass arranged for lute. I want to see noise rock and drone music and 12-tonal compositions on lute. Lute neo-soul and triphop Beats To Study To. I want to see a rap backing beat with lute in it.

[@oldgoat381]

As a tenor banjo player it's a slight surprise and great pleasure to see Rob here!

[@Robobagpiper]

Two of my favorite musicians in one video! Rob's recording of Oswald's divertimenti on English Guittar puts me straight to my happy place.

[@JazzGuitarScrapbook]

Lovely interview. Robs a legend…

[@LonnardTree]

Lovely snippet brother!

[@Remi-B-Goode]

Thank you for this interesting excerpt

[@callenclarke371]

Great content!

[@wearetemporary]

Always enjoy hearing Rob’s thoughts on music and stringed instruments. I must admit I’m not personally a fan of his playing, but he’s a wonderfully thoughtful man, and I always appreciate musicians with a distinct point of view.

[@k.l.graham5860]

The electric guitar itself is played in a multitude of styles. To limit an instrument seems contrary to the spirit of the thing itself.

[@Jinkaza1882]

That is why I love finding YT channels about instruments that have been lost to time. They are on here crwyns and rebecs to brass instrument experiments of the 1800s. All here waiting to be found.

[@MashaT22]

I never really thought about the future of Lute or any other instrument for that matter. I’ve thought about the past and present, but I guess I’m going to have to start considering what the future holds. I always worry about certain types of music and instruments dying because they’re not as popular, but posing this question is important. Musical styles and instruments from the past should be made more popular and saved for future generations to enjoy and learn from!

[@brandonacker]

Watch the full hour long interview with Rob here: kzbin.info/www/bejne/pJDZoYN_bZZ3gNksi=WfiQudDAxET40B_f

[@steve1000]

Your lute playing is so inspiringly beautiful; I'd say the lute is still alive and well.

[@mccafferyfamily]

Lute is in my future just have to finish financial recovery from my harp purchase. Love early music and hopefully your work and others like it will raise interest so lower cost instrument options become available. Although I did find a local lute luthier and while his lutes around $10K+ he did say for low cost option buy cheap one from Turkey then he will service and set it up and it will be pretty decent

[@jalalamjad980]

You should look into the afghan rubab. Its a very beautiful lute type instrument and it sounds amazing

[@chrisclayton584]

I'm thinking of buying my very first affordable classical guitar today on reverb. It's a yamaha c40ii. Would you recommend this guitar or something else? Plus, I was hunting down an old video you made of a leg stand for these guitars. I think it's called an ergoplay. Do you recommend one of those. I appreciate your videos and knowledge.

[@brandonacker]

I can't speak about that specific guitar since I don't know it. Yes, an ergoplay is my recommended support device. If you don't mind using this affiliate link, I'll get a a small percentage for pointing you there: a.co/7d4mo0j Best! Brandon

[@souilik2363]

❤❤❤

[@jean-yvesPrax]

Regarding the lute, everyone should have the chance of experiencing to play (and tune) this instrument alone, in a quiet room (chamber), in a DEEP silence... then you'll start to discover the magic of lute sound, ear the harmonics, realize that all the stuff of temperament is not a snobbish issue but mandatory for having your instrument "singing" beautifully, and realize that the musics composed by Kapsberger, Piccinnini, Weiss, Bach and others can only be played with inequal temperament and are very syncretic to the lute (or theorbo). You can keep your nails or not, play "thumb inside" or not... but at the end, these technical choices will be dictated by the music you're serving : try with Dowland gaillards divisions ... ;-)

[@sarahwithanh876]

Please forgive me for asking, but where do you buy strings for the theorbo and lute? Aside from Amazon or a specialty store, you can’t exactly go to “Lute Center” or “Theorbo Center” for strings. Again, no disrespect at ALL, but I’m curious. 🙂

[@brandonacker]

Bostoncatlines.com

[@sarahwithanh876]

@@brandonacker Awesome, thanks!

[@joseph2832]

Some would say it’s the guitar.

[@NotDeadYETTTT]

Do you guys know Arthur Ness, Lute Authority? S.U.N.Y. Buffalo

[@kermitthefog7400]

lol if there was a new spiderman alternate univese movie cast this guy as a younger toby XD

[@KLEUS]

красавэла

[@Biber0315]

Such has been and is the evolution of early music. Initially it was very dogmatic and the focus was on the playing the music with the appropriate instruments and technique. Then came the rise of the virtuoso and the focus turned away from the music to the performer and his interpretation of the music. This last stage has, to some degree evolved to the extreme with the erosion of traditional musical parameters. Early music is to be equated to jazz and is but a point of departure for improvisation and the performer's own creativity. No holds barred. Speaking for myself, I tend to prefer re-creationary music not creationary music. I certainly can appreciate many instrumentalists, but I prefer to hear them performing a composer's music within a degree of semblance of the aesthetic appropriate to the music, not adulterating is according to an inappropriate aesthetic. It's very much an ignorance of appropriate style and aesthetics. "Early music requires improvisation!" Well... no, not really. Not in the sense that you can obliterate a composer's intentions with your ego. It is interesting to note that period composers practically begged performers to leave their music alone. A complicated and polarizing subject for sure. As for modern music on old instruments. Sure why not. Modern music could use the new, albeit very old, timbres. Can't do anything to prevent it anyway. But it's all a fad and will soon prove impractical and fade away on its own. Sorry for the rant.

[@brandonacker]

Thanks for your thoughtful comment! I only take issue with one part. Baroque musicians surely improvised as much as Jazz musicians today. Improvisation is obligatory becuase most composers wrote in short hand. To not improvise would be to not do what the composer assumed you would do. In their own words, to play only what is written is bad taste because they do not write as they play (Couperin).

[@Biber0315]

Fair enough. We certainly can agree to disagree on some points though surely we are talking about different instruments (and their associated functions and uses - ie., continuo/accompaniment) and different repertoires, times and regions . I readily admit that the early Baroque aesthetic concept of Grace requires the performer to ornament, but only to a limited degree. Certainly the idea of allowing the performer to "go for it" at the suggestion "improvising" was not at all condoned. Early 17th century composers said as much in their prefatory essays to instrumental editions. As for the later Baroque (post ca. 1660s) that's a different can of worms - Corelli op. 5:9 is a different topic on the role of ornamentation that, to my mind is wholly pedagogical, much like the diminution tutors/ repertoire of a century earlier. Interesting (and polemical, at least to me) for sure. On another note - please do a full version of the Biber Passacaglia on your Spanish archlute! @@brandonacker

[@brandonacker]

@@Biber0315 Yes I'm really happy to discuss this topic. It seems like we really do have different perspectives. Here are some historical quotes from musicians of the time: “In all places where one must hold a note a lot or a little, one does a sort of tremolo (ornament). Now one does one sort of tremolo, now another, as is convenient, and on every fret, on every string and even on eighth notes, if there’s enough time, it will always have a good effect....The places where one must make tremolo are infinite...” Piccinini, 1623 “Playing without trilli, or accenti, except in the places where quickness does not permit them, is tasteless; you should play a trillo or accento on every stroke possible, except where there is arpeggiation... because these add grace themselves; however, those of three, two or one note are dead without a trillo.” -Kapsberger, 1640 “...You can always do it, even if you don’t find it indicated. On the first and second string, if you have an unoccupied finger, trill them...” -Sanz, 1674 “(Ornaments) serve to connect the notes, they enliven them and when necessary give them a special emphasis; they help to elucidate the character of the music; whether it be sad, cheerful, or otherwise, they always contribute their share to the effect...without them even the best melody may appear empty and meaningless.” CPE Bach, 1753 These plus countless other quotes and ornamentation symbols in tablature lead me to believe most of the music in the Baroque period (of course there are different styles as you say) requires extensive ornamentation from the player. Not just small trills but also passaggi. What is clear is they played differently than they wrote. To play what is on the page only is to not understand the style at all and it would be considered bad taste.

[@Biber0315]

It’s not that I advocate for no ornamentation, indeed, I acknowledge it is part and parcel of the aesthetic and musical style of the period and is to greater and lesser degrees idiomatic to some instruments. What I do advocate for is modesty to a degree that a composer’s work is not usurped by the performer aspiring to become the composer. I, as well, offer a few quotes from an article I published some years ago. (Sadly, a sequel article, exploring “reactions against the virtuoso” and more mature Baroque ornamentation practices, did not come to fruition before I abandoned music.) While most quotes reflect particularly on vocal practices they do reflect on contemporary sentiments of general musicality and are not without association to contemporary instrumental practices. With the rise of the instrumental sonata at the beginning of the 17th century, it may be observed that ornamentation was often composed directly into the music, leaving less room for the performer to embellish - hence the development of idiomatic instrument writing. Luigi Zenobi (1590s): The soprano, then, has the obbligation and complete freedom to improvise diminutions, to indulge in playfulness (scherzare), and, in a word, to ornament a musical body. But unless this is done with art, with grace and with good taste, it is annoying to hear, hard to digest, and loathsome to endure. Howard Mayer Brown (Embellishing 16th cent music): Virtuosi in their narcissism often have destroyed the character of the music they performed by their excessive and flamboyant embellishments. Josquin de Prez (apocryphal anecdote from 1562): When he heard a singer ornamenting one of his compositions, he went up to him and said “you ass, why do you add embellishments? If I had wanted them, I would have written them myself. If you want to improve finished compositions make your own, but leave mine unimproved.” Zarlino (1558) Because of the presumptuous audacity of performers who try to invent passaggi, I will not say sometimes but almost continuously, all trying to move at the same time as if in a passage-making contest, and sometimes showing their own virtuosity so far from the counterpoint of the musical composition they have before them, that they become entangled in their own dissonance-it is inevitable that an insupportable confusion should occur. Giovanni de Bardi, (ca. 1590) The noblest function a singer can perform is that of giving proper and exact expression to the canzona as set down by the composer, not by imitating those who aim only at being thought clever (a ridiculous pretension) and who so spoil a madrigal with their ill-ordered passages that even the composer himself would not recognize it as his creation. Caccini (1600) In the preface to his Le nuove musiche, he explains that the new manner of singing was “developed by me to avoid the old style of passaggi (one more suited to wind and string instruments than the voice) formerly in common use. Passaggi are to be condemned as “those long gyrations of the voice” that serve only to “tickle the ear,” because nothing is more contrary to the expression of affect. Lodovico Viadana, (Cento concerti ecclesiastici, 1602) [These] concerti must be sung sensitively with discretion and grace, using small ornaments (accenti) with judgment, and passaggi with restraint and in their proper places: above all, nothing must be added to what is printed because nowadays there are certain singers who, favored by nature with some vocal facility, never sing the songs the way they are written, without realizing that today such procedures are no longer welcome, indeed are held in very low esteem, especially in Rome where the true manner of good singing flourishes Marco da Gagliano Gagliano asked singers in the preface to his own opera Dafne [1608] “to limit their gruppi, trilli, passaggi et esclamazioni to those places where the words permit their logical or innocuous use and to refrain from using them everywhere else.” Such “indiscriminate use of ornaments,” he continues, are to be likened to “a painter who paints cypress well and therefore crams them into every picture.” Vincenzo Galilei (Dialogo, 1581): Speaking in general, I say that each one of these professors [players of the viola d'arco, cornett, and trombone] deserves to be reputed whenever his work is of that excellent standard which it is desirable to establish. I warn you, however, that those who have need of this sole particular, in order to show the disposition of the lips, the agility of the tongue, and the speed of their fingers, believing that knowledge consists of these, will thus detract from the true being, air, semblance, effigy, and natural beauty of any composition which they might have in hand, enveloping it from head to foot in the confused fog of their >winged? passages or tirades, as they are called. Due to this disproportionate and unbecoming disguise-in order to know it by name-there [occurs] the same difficulty which existed in the times of Cimabue and Giotto... [here Galilei digresses into a commentary critical of the late fifteenth century propensity for excessive complexity in paintings]... There is also no lack of persons like these among players of keyboard instruments, but enough has been said. Ercole Bottrigari, (1594) Because of the presumptuous audacity of performers who try to invent passaggi, I will not say sometimes but almost continuously, all trying to move at the same time as if in a passage-making contest, and sometimes showing their own virtuosity so far from the counterpoint of the musical composition they have before them, that they become entangled in their own dissonance-it is inevitable that an insupportable confusion should occur. Zacconi, “the singer who with a little ornamentation in good time [and] doesn't go too far afield will always be better appreciated than another who digresses far too much, whether in good time or not. Zenobi in this manner [i.e. singing with modesty] one sings with good taste, and with art, and not haphazardly, and at breakneck speed, as nowadays some bunglers do, nevertheless claiming to have touched the depths in the matter of the art of singing and pleasantly preening their pride. Pietro della Valle, (1640): Playing in the company of other instruments does not require artifices of counterpoint [ornamentation] so much as the graces of art; for if the player is good, he does not have to insist so much upon making a display of his own art as upon accommodating himself to all others... Peter Allsop (Trio Sonata): in his discussion on the development of stil moderno sonata, it was the very practice of notating formerly improvisatory practices (passaggi) in the new sonata, which itself was largely beholden to the ornamental treatises of dalla Casa and Bassano (et. al) for its “large repertory of stock figurations and vivacious roulades,” that represented “a change in attitude on the part of the composer, denying the performer the option of free embellishment.” Referring specifically to Venetian sonata composers (i.e., Riccio, Marini, Scarani, etc.), Allsop continues: “the Venetians were unusually precise in their notation, not only of specific instrumental idioms, such as bowing slurs and tonguings, but even the addition of standard graces such as gruppi, and trilli, while fully written out passaggi suggests an attitude similar to that of G. P. Cima who firmly requested the player to perform his music as it stood”. Thank you for reviving this topic in me, it has been great revisiting what I refer to as my previous life in musicology. All the best to you. But how about that Biber Passacaglia on your Spanish archlute? Would love to hear you do the whole thing. That clip you offered in a previous video was cruelly tantalizing! @@brandonacker

[@brandonacker]

Thanks for the new quotes! I've read some of those treatises but many were new to me. It seems clear they are mostly warming musicians to use good taste more than anything else and like many quotes, they reveal that people were ornamenting even more than what was considered good taste by the writers. I think that is quite revealing of the practice of the time. Yes, I plan to do a full version of the Biber some day! All the best, Brandon

[@jimicunningable]

What's a "lute"?... 😂