Asymmetric synthesis of benzylic and heterobenzylic amines

C2-Symmetrical, enantiopure 2,6-di[1-(1-aziridinyl)alkyl]pyridines (DIAZAPs) were prepared by a high-yielding, three-step sequence starting from 2,6-pyridinedicarbaldehyde and (S)-valinol or (S)-phenylglycinol. The new compounds were tested as ligands in palladium-catalyzed allylation of carbanions in different solvents. Almost quantitative yield and up to 99% enantiomeric excess were obtained in the reactions of the enolates derived from malonate, phenyl- and benzylmalonate dimethyl esters with 1,3-diphenyl-2-propenyl ethyl carbonate. Asymmetric synthesis of 2-(2-pyridyl)aziridines from chiral 2-pyridineimines bearing a stereogenic center at the nitrogen atom was development. The envisioned route involves the addition of chloromethyllithium to the imine derived from 2-pyridinealdehyde and (S)-valinol, protected as O-trimethylsilyl ether. The analogous reaction performed on the imine derived from (S)-valine methyl ester gave the product containing the aziridine ring as well as the α-chloro ketone group coming from the attack of chloromethyllithium to the ester function. Other stereogenic alkyl substituents at nitrogen gave less satisfactory results. Moreover, the aziridination protocol did not work on other aromatic imines, e.g. 3-pyridineimine and benzaldimine, which are not capable of bidentate chelation. The N-substituent could not be removed, but aziridine underwent ring-opening by attack of nitrogen, sulfur, and oxygen nucleophiles. Complete or prevalent regioselectivity was obtained using cerium trichloride heptahydrate as a catalyst. In some cases, the N-substituent could be removed by an oxidative protocol. The addition of organometallic (lithium, magnesium, zinc) reagents to 2-pyrroleimines derived from (S)-valinol and (S)-phenylglycinol gave the N-substituted-1-(2-pyrrolyl)alkylamines with high yields and diastereoselectivities. The (S,S)-diastereomers were useful intermediates for the preparation of enantiopure 1-[1-(2-pyrrolyl)alkyl]aziridines by routine cyclization of the β-aminoalcohol moiety and of (S)-N-benzoyl 1-[1-(2-pyrrolyl)alkyl]amines and their N-substituted derivatives by oxidative cleavage of the chiral auxiliary. 1-Allyl-2-pyrroleimines obtained from (S)-phenylglycinol and (S)-valinol underwent highly diastereoselective addition of allylmetal reagents, used in excess amounts, to give the corresponding secondary amines with concomitant allyl to 1-propenyl isomerisation of the 1-pyrrole substituent. Protection of the 2-aminoalcohol moiety as oxazolidinone, amide or Boc derivate followed by ring closing metathesis of the alkene groups gave the unsaturated bicyclic compound, whose hydrogenation afforded the indolizidine derivative as a mixture of separable diastereomers. The absolute configuration of the main diastereomer was assessed by X-ray crystallographic analysis.

Strati, piano, rizoma. John Cage e la filosofia di Gilles Deleuze e Félix Guattari

In base ad una recensione esaustiva dei riferimenti alla musica e al sonoro nella produzione filosofica di Gilles Deleuze e Félix Guattari, la presente ricerca s’incentra sulla posizione che il pensiero musicale di John Cage occupa in alcuni testi deleuziani. Il primo capitolo tratta del periodo creativo di Cage fra il 1939 e il 1952, focalizzandosi su due aspetti principali: la struttura micro-macrocosmica che contraddistingue i suoi primi lavori, e i quattro elementi che in questo momento sintetizzano per Cage la composizione musicale. Questi ultimi sono considerati in riferimento alla teoria della doppia articolazione che Deleuze e Guattari riprendono da Hjelmslev; entrambi gli aspetti rimandano al sistema degli strati e della stratificazione esposta su Mille piani. Il secondo capitolo analizza la musica dei decenni centrali della produzione cagiana alla luce del luogo in Mille piani dove Cage è messo in rapporto al concetto di “piano fisso sonoro”. Un’attenzione particolare è posta al modo in cui Cage concepisce il rapporto fra durata e materiali sonori, e al grado variabile in cui sono presenti il caso e l’indeterminazione. Le composizioni del periodo in questione sono inoltre viste in riferimento al concetto deleuzo-guattariano di cartografia, e nelle loro implicazioni per il tempo musicale. L’ultimo quindicennio della produzione di Cage è considerata attraverso il concetto di rizoma inteso come teoria delle molteplicità. In primo luogo è esaminata la partitura di Sylvano Bussotti che figura all’inizio di Mille piani; in seguito, i lavori testuali e musicali di Cage sono considerati secondo le procedure compositive cagiane del mesostico, delle parentesi di tempo che concorrono a formare una struttura variabile, e dell’armonia anarchica dell’ultimo Cage.