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Francesco Spinacino (flourished 1507) was an Italian lutenist and composer. His surviving output comprises the first two volumes of Ottaviano Petrucci’s influential series of lute music publications: Intabolatura de lauto libro primo and Intabolatura de lauto libro secondo (both 1507). These two collections comprise the first known printed lute music, and his first book was the first ever instrumental music book printed with the movable type system.
Spinacino was apparently highly regarded by his contemporaries, as his music was widely copied. There are 81 pieces overall: 46 intabulations, 27 ricercares, two bassadans and six pieces for lute duet.
The ricercares are among the most complex of the period; they have no clearly defined form and include several contrasting sections. Particularly notable is Recercare de tutti li toni, which moves through all modes. The duets are also historically important, for they present a sample of early 16th century performance practice: one of the lutes is given an intabulation of a chanson’s original tenor and bass, whereas the other plays in free counterpoint to the titular chanson.
Selection of Pieces for Inclusion in these Books
All pieces are from the first two volumes of Ottaviano Petrucci’s influential series of lute music publications: Intabolatura de lauto libro primo and/or Intabolatura de lauto libro secondo (both 1507). These two collections comprise the first known printed lute music, and his first book was the first ever instrumental music book printed with the movable type system.
Books 1 and 2 — All 27 recercars (ricercars).
Books 3 to 5, and Duets— Other intabulations of pieces by other composers, including 6 duets.
The following are the identified composers of the intabulations:
Francesco Spinacino identified many composers for the intabulations when naming the pieces. Some have been identified or attributed subsequently. Spellings have been adjusted for some names.
Anonymous is used when no specific composer has been identified or attributed for the piece. The composer may or may not be Francesco Spinacino himself.
Alexander Agricola (ca 1446 – 1506) was a Netherlandish composer of the Renaissance writing in the Franco-Flemish style. A prominent member of the Grande chapelle, the Habsburg musical establishment, he was a renowned composer in the years around 1500, and his music was widely distributed throughout Europe. He composed music in all of the important sacred and secular styles of the time.
Antoine Brumel (ca 1460 – 1512/13) was a French composer. He was one of the first renowned French members of the Franco-Flemish school of the Renaissance, and, after Josquin des Prez, was one of the most influential composers of his generation.
Antoine Busnoys (also Busnois) (ca 1430 – 1492) was a French composer, singer and poet of early Renaissance music. Busnois and colleague Johannes Ockeghem were the leading European composers of the second half the 15th century, and central figures of the early Franco-Flemish School.
Firminus Caron (fl. 1460–1475) was a French composer, and likely a singer, of the Renaissance. He was highly successful as a composer and influential, especially on the development of imitative counterpoint, and numerous compositions of his survive. Most of what is known about his life and career is inferred.
Johannes Ghiselin (Verbonnet) (fl 1455 – 1511) was a Flemish composer of the Renaissance, active in France, Italy and in the Low Countries. He was a contemporary of Josquin des Prez, and a significant composer of masses, motets, and secular music.
Hayne van Ghizeghem (ca 1445 – from 1472 to 1497) was a Franco-Flemish composer of the early Renaissance Burgundian School. Hayne is principally known as a composer of chansons, and most of these are rondeaux. Two in particular—Allez regrets, and De tous biens plaine—were quite famous.
Heinrich Isaac (ca 1450 – 1517) was a composer of south Netherlandish origin during the Renaissance era. He wrote masses, motets, songs (in French, German and Italian), and instrumental music. A significant contemporary of Josquin des Prez, Isaac influenced the development of music in Germany.
Robert Morton (also Mourton, Moriton) (ca 1430 – after 1479) was an English composer of the early Renaissance, mostly active at the Burgundian court. He was highly regarded at the time. Only secular vocal music, all rondeaux for three voices, survive.
Jacob Obrecht, also Hobrecht, (ca 1457/8 – 1505) was a Flemish composer of masses, motets and songs. He was the most famous composer of masses in Europe of the late 15th century and was only eclipsed after his death by Josquin des Prez.
Johannes Ockeghem (ca 1410 – 1497) was a Franco-Flemish composer and singer of early Renaissance music. Ockeghem was a significant European composer in the period between Guillaume Du Fay and Josquin des Prez, and he was, with his colleague Antoine Busnois, a prominent European composer in the second half of the 15th century. He was an important proponent of the early Franco-Flemish School.
Josquin des Prez (ca 1450/5 – 1521) was a composer of High Renaissance music, who is variously described as French or Franco-Flemish. Considered one of the greatest composers of the Renaissance, he developed a complex style of expressive—and often imitative—movement between independent voices (polyphony) which informs much of his work. Josquin was a singer, and his compositions are mainly vocal. They include masses, motets and secular chansons.
Jacob Tadinghen (fl. late 15th century) was a Franco-Flemish composer.
Juan de Urrede (ca 1430 – after 1482) was a Flemish singer and composer active in Spain in the service of the Duke of Alba and King Ferdinand and Queen Isabella. Although he wrote sacred songs, he was better known for courtly songs.[
Johannes Vincenet de Bruecquet (ca 14?? – 1479).