Works
Brunel enjoyed an exceptionally high reputation during his lifetime. Numerous writers, including Cosimo Bartoli, Cinciarino, Jacopo Corfini and Luigi Dentice, praised his skills. Bartoli wrote that Brunel played "with more grace, with more art and more musically than any other, whoever he may be." However, few of his works survive. The most important pieces, a number of ricercars from the so-called Bourdeney Codex, were attributed to Brunel by Anthony Newcomb in 1987. These works are of considerable importance in the evolution of the genre: there are frequent instances of advanced contrapuntal techniques such as inversion and augmentation, hexachord transpositions (inganno) of the subjects; some of the pieces even employ countersubjects. Two ricercares also appear in another mansucript: one imitative, structured like a motet, and the other completely devoid of any imitative passages.
One other piece was attributed to Brunel by Knud Jeppesen: an organ mass discovered in the 1940s in manuscripts that were kept in the main church of Castell'Arquato. The mass, subtitled Messa de la dominica, is signed Jaches at the end of the last Kyrie verset. It is a typical Italian organ mass, consisting of many short pieces for the alternation practice. All of the pieces are in four voices, but the texture is frequently interrupted either by passages in three voices, or with chordal passages which include chords of five, six, or even seven notes.
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Famous quotes containing the word works:
“There is a great deal of self-denial and manliness in poor and middle-class houses, in town and country, that has not got into literature, and never will, but that keeps the earth sweet; that saves on superfluities, and spends on essentials; that goes rusty, and educates the boy; that sells the horse, but builds the school; works early and late, takes two looms in the factory, three looms, six looms, but pays off the mortgage on the paternal farm, and then goes back cheerfully to work again.”
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“Again we mistook a little rocky islet seen through the “drisk,” with some taller bare trunks or stumps on it, for the steamer with its smoke-pipes, but as it had not changed its position after half an hour, we were undeceived. So much do the works of man resemble the works of nature. A moose might mistake a steamer for a floating isle, and not be scared till he heard its puffing or its whistle.”
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