> I wouldn't know. The pieces by Colista for guitar that I've seen are > mediocre. I happen to Like Bartolotti and Corbetta....
As you haven't seen it, other than in two manuscripts copied in the 18th century you can't evaluate it. All that you can say is that you know nothing about it. So much of what you say simply ignores that fact that we have a very incomplete picture of what was really happening. I also like the music of Bartolotti.His second book was published in Rome, and dedicated to Queen Christina of Sweden who resided there after her abdication. On that basis one could argue that he was a re-entrant tuner. > > > > Bartolotti. The music of Fardino may have outclassed them all. > > Hope to see it once! Again the point is that you haven't seen it, and therefore only have an incomplete picture. > > > > Kapsberger is also though to have published two books of guitar music > which > > have not survived. > > He was dead by 1640... Yet Sanz was evidently able to read his books in the 1660s. Presumably Kapsberger's music continued to be played after his death. Granata accuses Corbetta of pirating it so presumably he, and Corbetta were familiar with it. > > You are simply repeating what Gary Boye has said, but his arguments are > > nothing more than speculation.... > > Sometimes people reach the same conclusions. Sometimes not. Some people reach conclusions without considering the accuracy of the evidence. Two of the sources which Gary quotes and which he thinks represent practice in the south of Italy - Abbatessa and Micheli - don't indicate any particular method of stringing. The third, Costanza, published his work in Bologna, although he describes himself as Neopolitan. Montesardo published one book in Florence, another in Naples. Millioni's books were all printed in Rome - a hot bed of re-entrant tuners. Abbatessa published books in Venice, Orvieto, Rome, Lucca and Milan. Foscarini's books were published in Macerata and Rome. The preface appeared in the earlier edition and was included in subsequent editions unchanged - probably using sheets from the original print run - the type has not been reset in later editions. Bartolotti published books in Bologna and Rome Corbetta in Bologna and Milan. Many of the song books with alfabeto were also printed in Rome. How do we decide which "school" to assign them to? Place of origin? What if they don't tell us their place of origin? And what of Corbetta? He describes himself as Pavese - so if he belongs to the Bologna "school", so does Costanza. They all moved freely about the country, having their books printed wherever they happened to be employed at the time. And presumably people bought them. Elaborate theories such as that which Gary has put forward are simply fantasy. People who believe in them don't really live in the real world. Monica (with both feet firmly on the ground). To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
