b) "Capirola's Nunquam to Spinacino's and am certain they are by
different intabulators as are the other intabulations."
Sadly, one cannot really say :(
It could just have been that his skillz were developed during those
years. Maybe someone said: Dude, this is really not how you intabulate
I think the same way, Ron.
I just retold what Lukas Henning presented in his video and what he said
to me.
Interestingly, the episode is no longer on his channel. Maybe too many
Spinacino fans complained?
it is still listed here: https://www.musicamemo.com/archive2.html
On 14.01.20
Sean, you are absolutely right! Keep on...
Tim Swain
On Tue, Jan 14, 2020 at 2:42 PM Sean Smith <[1]lutesm...@gmail.com>
wrote:
For the record I still believe Francesco Spinacino's two books
are
indeed cans of worms overflowing with colorful content. I've
For the record I still believe Francesco Spinacino's two books are
indeed cans of worms overflowing with colorful content. I've compared
all the non-ricercars to their originals (where possible) and am
certain that a) there are multiple intabulators at work, b) many of the
pieces
Tristan, I would hesitate to say that Spinacino was a bad composer for
the lute. Quite the contrary, considered in context his work
represented a very high standard of writing for the instrument. The
value judgement of Spinacino's work must be weighed against the
position it
After the Milan discussion which I enjoyed a lot, I'd like to bring up
again my question, which I would love to be discussed in the same manner
as the Milan controversy (which really wasn't one, granted).
As you all know, the first prints were of pieces by one "Francesco
Spinacino", about whom
