1

From guitarist to lute player In the past few years I have noticed many young players who start playing continuo instruments like

baroque guitar and theorbo relatively late in their classical guitar education. It is more unclear to me

if they also aim at playing solo lute music, but some of these players also include solo lute-

performances in their concert calendars. However, their main focus appears to be continuo activities.

One of the most promising young Norwegian classical guitarists, finalist in the Norwegian

Broadcasting music competition Virtuos, Jadran Duncoumb, is one example of this tendency. He

only mentioned lute performance on his web page in 2013, and no classical guitar concerts were

scheduled. Other examples are Jrgen Skogmo (winner of the Norwegian guitar Competition at

Skjeberg Guitar Festival) and Solmund Nystabakk (Scherzi musicali), which have been among

Norways greatest young perfomers on classical guitar the last ten years. All of them now seem to

focus on lute playing.

This has led me to ask if the trend in Norway reflects the starting age on lute instruments in general,

that is during higher education in classical guitar? If it is the case then it is unconventional compared

to the training on other instruments, as the training is started in adulthood. There are examples from

other instruments where players have started in adult age and have achieved expert competence.

The Norwegian violinist Terje Moe Hansen moved the borders for what was considered possible by

starting to play the violin in his early twenties and ending up as violin professor at the Norwegian

State Academy. The Norwegian jazz-saxophonist Hkon Kornstad decided to put his jazz carreer on

hold, and instead took a master degree as an opera singer. He managed to get a debut on the

Norwegian State Opera. It is also worth mentioning that the world famous pianist Murray Perrahia

didnt start practice seriously towards a career as a solo-pianist before he was 15 years old, quite late

compared to other famous pianists. The subject of late starting musicians is debated on several

blogs, and my impression is that the most people think it is impossible to start in adulthood and

become a professional classical musician. The trend among Norwegian lute players therefore appear

to be quite unique.

Is it possible to combine classical guitar playing and a lute playing on a professional level? As a guitar

player myself I can see several potential difficulties. First, guitarists use a stroke consisting partly of

the nail, while lute players seem to use the nail to a far less extent. Some lute players play

completely without nails. My personal experience is that the double lute strings make it difficult to

make the stroke when having relatively long guitar nails, even though nail length this varies on

modern classical guitar. Also, the extended bass register on theorbo and baroque lute requires extra

skills for the right-hand thumb.

Maybe classical guitar and lute instruments are similar enough to conclude that it is an advantage to

have played classical guitar extensively before one starts learning the lute. On the other hand, I know

of guitar professors that have given up learning the theorbo because they find it too difficult. I know

of little research on how knowledge and skills from one musical instrument affects the adaption to a

another playing another instrument. However, the aim of this article is not to focus on results from

research. My intention is merely to share thoughts on the process of learning new skills as an adult,

and to present an instrumental tradition that I consider to be little known among other

instrumentalists. Maybe guitarists can get a more realistic picture of what it implies to become a lute

player.

2

Interviews with lute players

The method of interviewing seems appropriate for this purpose. The informants falls into two

different groups players who seem to be in an early stage of their career and players who are more

established as lute players and who already have a professional career and teach on University level.

The first group of players include Jrgen Skogmo and Solmund Nystabakk. The second group consists

of Rolf Lislevand Xavier Diaz-Latorre and the Norwegian based player Vegard Lund.

Motivation

I guess there are many good reasons for guitarists to start playing theorbo and lute. My impression is

that can be economically difficult to support oneself by playing classical guitar player. The odds seem

better for making a profession as a lute player considering the possibilities for playing continuo in

baroque ensembles.

As a classical guitar student you are exposed to renaissance- and baroque music through

transcriptions. Some choose to play on instruments that has added more bass-strings, like the alto

guitar, but this music is mostly played on six-string guitar. Playing renaissance- and baroque music on

another instrument than the one it was originally intended can of course stimulate players to seek

more authentic approaches. My own experience is that ornaments feel easier and more natural on

lute instruments than on the guitar. Having thinner strings and less tension technical legato is also

easier. The double strings and the way lute instruments are constructed also give a sound that is

impossible to achieve on the guitar.

Organizing opportunities for guitar students to try lute instruments during their guitar education

seem to be a crucial factor for the guitarists that became lute players. Three of the informants have

studied at Guildhall School of Music, where additional courses in continuo playing is an eligibility. Rolf

Lislevand was given the freedom to develop as a lute player although he was a accepted as a guitar

student at the Norwegian State Academy. Vegard Lund enrolled for studies at master level with Nigel

North at Guildhall although his bachelor was achieved on the classical guitar.

Xavier Diaz-Latorre emphasizes the importance of getting a smooth transition from the guitar to lute

instruments. It might not be the best idea to start playing the solo repertoire on the lute, as theorbo

and continuo playing can be easier to master at a beginner level as it is more compatible with the

classical guitar technique. It can also contribute to develop a broader knowledge about baroque

interpretation that can turn out to be quite helpful when playing the solo repertoire, he adds.

Starting age

Regarding starting age, the first group started their training during classical guitar studies. This is also

to a certain extent the case for the second group. Lislevand started relatively early stage of his higher

guitar education. Diaz-Latorre, on the other hand, started when he was 25 years old when he had

already attained his diploma on classical guitar. All the informants of the two groups seem to have

started more or less in their early twenties, which infers that starting during adulthood is more the

rule than the exception.

Lislevand gives an interesting hypothesis. The fact that we know that the general level of many

artistic diciplines such as music and painting was very high in the baroque era can imply that the level

of todays lute players is low in comparison. There are examples of music by Kapsberger and Weiss

3

that is rarely played today because is regarded too technically difficult. This is also apparent in the

music of Dowland and Terzi.

Combining lute instruments and the guitar

According to Lislevand the solo instruments (baroque guitar and baroque lute) were played with

some nail in the stroke to create a more twangy or nasal sound. Classical guitarists have nails but this

doesnt mean that its unproblematic to play lute, as the nails has a far more central role in the right-

hand stroke on the guitar than on the lute. In Lislevands opinion the nails therefore have to be

shorter. He also points out that classical guitarists string tend to use more muscular power in their

stroke, something that often becomes problematic when playing lute instruments. Solo lute also

requires a stroke that is enables to microdynamics, which can be described as a timbre-based relief.

In addition to superlegato and diminuitions the average guitar player will have a lot of work to do

when it comes to adapting their technique. On the other hand, playing continuo requires a more

powerful stroke which gives the right amount of volume needed to be heard in an ensemble. But

then again he often has to work on limiting his students use of muscular power in the solo-music

when they have been doing ensemble activity. He also mentions players that take shortcuts and

simplify the instruments to keep more of their guitar-technique while playing lute. Some use simple

strings instead of choruses, which gives a somewhat quasi result. But an intelligent player can

manage to hide this to a certain extent.

The classical guitar is almost non-apparent in the lute players working careers, but there are

exceptions. Skogmo has recently released a cd with classical guitar repertoire. Nystabakk says he

regards himself as both a guitarist and a lute player, but foremost as lute player. Lund is still playing

classical guitar concerts, but he is conscious that the nail length is kept short enough to not influence

his lute playing. He plays the music of Sor, Giuliani and Aguado on authentic instruments, and also

plays a Torres guitar, which can be described as more similar to the modern guitar type, but a bit

smaller and with less tension on the strings. This is the same type of guitar that Fransisco Tarrega

played. It is my impression that the same nail length is not required on these types of guitar, even

though Tarrega played with nails quite similar to todays classical guitarists.

Diaz-Latorre points out that the theorbo has many technical similarities with the modern classical

guitar. He has seen classical guitar students who master the theorbo almost immediately, or at least

the basics. He even mentions players who play continuo professionally without having to change

their technique much. As an educated classical guitarist Diaz-Latorre still plays classical guitar. But

having been active as a lute soloist and continuo player the last twenty years he finds the modern

classical guitar too physically demanding. As the previously mentioned Norwegian player, Lund, he

solves this problem by playing a Torres guitar. In addition to numerous recordings on lute and

baroque guitar he has also recorded albums with spanish romantic guitar music.

All in all the reason for having short nails seem to be fundamented in getting the right colour of

sound on theorbo and lute, a fact that in my opinion shows that the players regard themselves more

as lute players than classical guitarists. Classical guitar types appear to be something they play in

addition to their main occupation.

Working opportunities

I have previously speculated in the lack of working opportunities as a classical guitarist as a driving

factor for guitarist to start playing lute instruments. In the final of the competiotion Virtuos on the

4

Jadran Duncoumb was asked by the show host why he competed with a guitar againt piano and

violin players. This in my opinion unpolite question might be an indication that the classical guitar is

not regarded as representing the highest quality of repertoire or that the instrument itself is not

recognized in the same way as other instruments. The informants certainly confirm lack of working

opportunities on guitar as one reason for playing lute. Nystabakk says that he would probably have

to stick to teaching the guitar if he hadnt started a different carreer. As previously mentioned the

concert activity of the players show that lute playing is occupying most of their time. The many job

opportunities continuo players have are recommended by Latorre as a way of making a living while

learning to master the solo lute instruments.

Recruiting new lute players

In France we now see a new generation of lute players who started to play as children. Many of them

have parents who play lute and have a special interest in early music. Diaz-Latorre points out that

compared to other instruments these instruments still appear mystic and strange to most people.

Violinists and pianists have more attention in the media, and are thus more recognized. Children

don't ask their parents to start playing theorbo. This can explain why classical guitarists become lute

players, as they are exposed to the instruments in their education, unlike people in general, who

rarely see a lute. This also explain the high age many lute players have when they start, as a

minimum age is required to be enrolled in higher music education.

Another problem lute beginners face is that lute instruments costs quite a lot of money. A student

economy doesnt always allow the acquisition of several continuo and/ or solo instruments in the

price range of 3000 euros each. It is therefore a necessity that the schools have instruments available

for the students to borrow. At ESMUC (escola Superior de Msica de Catalunya) where Diaz-Latorre

teaches actions have been taken regarding recruitment, and its now possible to receive lute tuition

without having much skills in advance. One can also adapt the amount of time one wishes to use,

and there is a separate lute programme for children. They now have more students enrolled in the

flexible program than on the regular classical guitar bachelors program. Most of the students

attending the program have a background in guitar.

Transferrable skills and knowledge

All of the informants express the view that they have good use of their skills on classical guitar and

other genres of guitar playing when it comes to learning lute instruments. They most frequently

mentioned factors are knowledge about interpretation and motorical/ physical factors. Diaz-Latorre

states that being 25 years old and having an education in classical guitar is a good starting point for

becoming a lute player. But he emphasizes that sooner or later one might have to take some choices

regarding the solo lute instruments which requires a higher degree of specialization. Lislevand tend

to share this view.

Conclusions

When it comes to learning lute instruments it seems to be more of a rule than an exception to start

in adulthood, either as a student or after finishing studies in classical guitar. Diaz-Latorre seem to be

the foremost example of starting late, but the other informants tend to follow the same pattern.

According to the informants, knowledge and skills from classical guitar studies seem to have a clear

transferrable value regarding the acquisition of lute playing skills.

5

Combining solo lute instruments and modern classical guitar seems difficult, but other types of

classical guitar are combined with solo lute instruments by some lute players.

Combining continuo play on theorbo and baroque guitar and playing classical guitar seem to be

relatively unproblematic. Solo lute music appears to be more of a problem to combine with the

guitar, as this is more demanding.

Lack of job opportunities as a classical guitarist was one of several factors influenced the many of

informants to start playing lute instruments. A natural interest for early music genres is of course also

one of the main reasons.

Recommendations

After this small investigation I would warmly recommend classical guitarists to start playing lute

instruments. It seems possible to learn in adulthood and offers good working opportunities. The

educational institutions should have lute instruments available, so that the students economy

doesnt stand in the way of exploring new possibilities. Without knowing the subject portfolio of

ESMUC in detail, the successful study model described by Diaz-Latorre is recommended, and should

be adapted by other institutions. Further, lute training seem to have been absent in public musical

training for children, as the lute players had their first meeting with these instruments during their

guitar studies, and public musical schools therefore have some challenges regarding this type of

instrumental training. Lack of working opportunities on the classical guitar seem to play an important

role in motivating guitar players to become lute players. It is therefore natural to ask if the

information given to guitar students during their studies is sufficient. It is my personal view that

research on working possibilities could contribute to adapting studies in classical guitar more to the

working situation guitarists meet after finishing their studies.