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Program note (English): Two-track version on CD CV-NEAR 8. Six-track performance tape is available at Donemus.
Hardly any sounds were especially created for Ruïne. It is actually a retrospective of forms and sounds from early compositions like Alliage were assimilated into the piece. More important for this work is a group of sounds that were created during experiments for Weerstand and Ontketening I (...). Ruïne is contained inside a frame because of a long moving bell-like sound, which, like a gate, admits you into the piece and leads you out of it again at the striking sounds, noise and waves, noise ruffles, flageolet-like sounds and the clinking of an evil. The fragment stands still with sounds of trains in the distance. After the introduction, the rest of the progression of Ruïne is determined by four crescendos, longer fragments in which not only the strength of the sounds becomes amplified but also the sharpness of the timbre, the ambitus of the positioning and the density of the musical events. The bell movement of the beginning marks the conclusion of the piece. A few noise ruffles follow. Like night birds in flight. - JAN BOERMAN

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