Guitarist and Lutenist, France
Swan neck lute in d and Liuto forte in g
…Everything you say is eloquent, and I am very interested in your approach, alive and active, taking into serious consideration and passionately the notion of evolution that cannot be ignored.
Personally, I think that if traditionalists are to understand it, so are we progressives, who must appreciate the search for authenticity. These are two ways of looking at things, and I cannot presumptuously put myself in a position to judge. History will judge. I also find this approach of seeking authenticity quite exciting. Besides, it took me a while to get used to the idea that we could transgress it. It was Eric and Kléber who showed me that the road was open, and that I had to dare to go there. It worked well for me because the traditional lute doesn’t suit me at all, and yet I want to play this music. I discovered there and against all odds the miracle solution, the one I didn’t dare to hope for, and therefore one I had never thought of. When Kléber (Besson) first told me about the liuto forte, I didn’t really understand the importance of this moment for me. Now I know that I am, in a way, saved (! … I feel it like that, it’s that much… it was indeed not conceivable that I would play the lute as it originally appeared, so… Thanks to you!). In addition, I have traditionalist friends who understand my approach very well. Apparently they don’t mind. The main thing is to be clear. On the other hand, it is the whole mix of people who want to give their opinions too often bitter to make themselves important that is annoying. Their pride handicaps the future of the instrument instead of ensuring it, everything
by creating a situation of conflict without any interest, when all this can only be interesting in diversity and freedom.