5,764 research outputs found
Sonata A Violino Solo // Composta da // Gaetano Brunetti (manuscrit autographe)
No full textTitre uniforme : Brunetti, Gaetano (1744-1798). Compositeur. [Sonates. Violon, basse. No 1. Sol majeur]Mentions ms. à la p. de t. : "Originale Brunetti 1791", "N° 27", "N° 20". - Instr. : vl, b. - RaturesPrésentation musicale : [Partition]Appartient à l’ensemble documentaire : RISM1Appartient à l’ensemble documentaire : RISMMssSonates (violon et basse
[6 quatuors à cordes] (manuscrit autographe) / Gaetano Brunetti]
No full textTitre uniforme : Brunetti, Gaetano (1744-1798). Compositeur. [Quatuors (6). Cordes (1791)]Titre uniforme : Brunetti, Gaetano (1744-1798). Compositeur. [Quatuors. Cordes. No 1 (1791). Mi majeur]Titre uniforme : Brunetti, Gaetano (1744-1798). Compositeur. [Quatuors. Cordes. No 2 (1791). Sol majeur]Titre uniforme : Brunetti, Gaetano (1744-1798). Compositeur. [Quatuors. Cordes. No 3 (1791). Si bémol majeur]Titre uniforme : Brunetti, Gaetano (1744-1798). Compositeur. [Quatuors. Cordes. No 4 (1791). Mi bémol majeur]Titre uniforme : Brunetti, Gaetano (1744-1798). Compositeur. [Quatuors. Cordes. No 5 (1791). Sol majeur]Titre uniforme : Brunetti, Gaetano (1744-1798). Compositeur. [Quatuors. Cordes. No 6 (1791). La majeur]Comprend : Quartetto ; Quartetto ; Quartetto a Due violini viola e Basso ; Quartetto ; Quartetto ; QuartettoAu départ de chacun des quatuors, mentions autogr. : "J.M.J. me asistan originale" (ce dernier terme seulement pour les 4 premiers) . - Vl 2, vla, b. - Date "1791" en haut à droite du 1er f. du 5e quatuor. - Appréciation de C. Malherbe au départ du dernier quatuor : "Le 1er morceau est fort bon". - Ancienne numérotation : n° 48, 49, 50, 52, 53 et 55. - Le menuet du 1er quatuor est précédé d'une ébauche du même mouvementPrésentation musicale : [Partition]Appartient à l’ensemble documentaire : RISM1Appartient à l’ensemble documentaire : RISMMssQuatuors à cordes -- +* 1700......- 1799......+:18e siècle
Sonata a Violino Solo e Basso. // Di Gaetano Brunetti (manuscrit autographe)
No full textTitre uniforme : Brunetti, Gaetano (1744-1798). Compositeur. [Sonates. Violon, basse. La majeur]Mentions ms. à la p. de t. : "Originale Brunetti" (date à moitié effacée mais le 1 est bien visible.); "N° 33", "N° 13". - Instr. : vl, b. - RaturesPrésentation musicale : [Partition]Appartient à l’ensemble documentaire : RISM1Appartient à l’ensemble documentaire : RISMMssSonates (violon et basse
The permanence of Antiquity. From the Bolognese laboratory: Alexander, Thebes, Troy, Merlin
No full textThe essay relates the results and the expected developments of research coordinated by Brunetti at the University of Bologna, concerning texts and themes from classical antiquity to the Middle Ages. The authors discuss the Roman de Thèbes, in particular the controversial stemmatic position of the fragments preserved in Angers; and the compilation of the MS. Cologny, Fondation Martin Bodmer, Bodmer 147, a remarkable blend of Arthurian Romance and Matter of Rome. The paper also discusses the outcome of research aimed at proving the existence of a specific cultural project as premise to the composition of the Franco-Italian mise en prose (Prose 2) of the Roman de Troie
Discrete Tomography determination of bounded sets in .
No full textThis paper deals with the uniqueness problem for bounded sets in Discrete Tomography, namely to decide when an unknown finite subset of points in a multidimensional grid is uniquely determined by its X-rays corresponding to a given set of lattice directions. In Brunetti et al. (2013) the authors completely settled the problem in dimension two, by proving that whole families of suitable sets of four directions can be found, for which they provided a complete characterization. In this paper we examine the problem in higher dimensions. We show that d + 1 represents the minimal number of directions we need in Zn (n ≥ d ≥ 3) to distinguish all the subsets of a finite grid by their X-rays in these directions, under the requirement that such directions span a d-dimensional subspace of Zn. It turns out that the situation differs from the planar case, where less than four directions are never sufficient for uniqueness. Moreover we characterize the minimal sets of directions of uniqueness by providing a necessary and sufficient condition. As a consequence, results in Brunetti et al. (2013) can be easily extended to the n-dimensional cas
The Herla project in Flanders
No full textAfter providing a brief description of the Herla project, the most important project on Renaissance performance of the "Mantova Capitale Europea dello Spettacolo” Foundation, whose aim is to collect all sorts of documents related to the spectacular events supported by the Gonzaga family at the height of their splendour (1480-1630), Simona Brunetti outlines the festivities made in 1599 in honour of Duke Vincenzo I Gonzaga in his first trip to Flanders (pp. 10-15). Marco Prandoni shows diplomatic and celebratory aspects of the second visit of the Prince of Mantua in Flanders in 1608, when he visits also the United Provinces (pp. 15-20)
Sonata a Solo. // di Violino e Basso. // Di Gaetano Brunetti (manuscrit autographe)
No full textTitre uniforme : Brunetti, Gaetano (1744-1798). Compositeur. [Sonates. Violon, basse. No 2. Ré majeur]Date effacée, en haut à droite à la p. de t . - De 2 autres mains à la p. de t. : "N° 21", "N° 22". - Instr. : vl, bPrésentation musicale : [Partition]Appartient à l’ensemble documentaire : RISM1Appartient à l’ensemble documentaire : RISMMssSonates (violon et basse
Sonata a Violino Solo e Basso. // Di Gaetano Brunetti (manuscrit autographe)
No full textTitre uniforme : Brunetti, Gaetano (1744-1798). Compositeur. [Sonates. Violon, basse. Mi majeur]Mention ms. de plusieurs mains à la p. de t. : "J.M.J me asistan", "Originale", "N° 24". - Instr. : vl, bcPrésentation musicale : [Partition]Appartient à l’ensemble documentaire : RISM1Appartient à l’ensemble documentaire : RISMMssSonates (violon et basse
Lazzi di Commedia dell’Arte per "La Calisto" di Jacobs e Wernicke
No full textDall’ultimo scorcio del Cinquecento fino a metà Settecento, all'interno di un repertorio caratterizzato dal patchwork drammaturgico, la lingua “energica” della Commedia dell’Arte, consta di un sapiente intreccio di recitazione, canto, dizione intonata, danza e pantomima. Sul finire del XX secolo i lazzi giocosi dei comici diventano il pretesto per rileggere scenicamente le movenze di dei e pastori nella Calisto (1651) di Cavalli-Faustini. Analizzando in dettaglio la messinscena dello spettacolo proposto da René Jacobs e Herbert Wernicke, il saggio mostra come – grazie all’azione di artisti che sappiano non solo cantare egregiamente, ma anche recitare muovendosi in modo acrobatico e funambolico – sia possibile lavorare sulla scena operistica con il corpo del cantante, senza separare l’interpretazione vocale da quella gestuale, relegando quest’ultima in posizione pressoché ancillare
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