composer

Boerman, Jan

Jan Boerman, a pioneer of electronic music in the Netherlands, is a master of “pure” electronic music. Most of his work consists of music whose sounds are ...

related works

Ontketening II : voor slagwerk, live electronica en banden, (1984) / Jan Boerman

Genre: Chamber music
Subgenre: Percussion; Electronics with different instruments; Percussion with electronics
Instruments: 4perc tape electronics

De zee (I & II) : electronic music, 1964-1965, (score 1995) / Jan Boerman

Genre: Chamber music
Subgenre: Electronic music
Instruments: tape

Het leven van Rosa Luxemburg : 1971 / Gilius van Bergeyk

Genre: Chamber music
Subgenre: Variable instrumentation; Electronics with different instruments; Electronic music
Instruments: 4melody-instr pf(cel) 3tapes / 5tapes

Module IV : 1970-72, electronic music/4-track / Simeon ten Holt

Genre: Chamber music
Subgenre: Electronic music

 

composition

Ruïne : (1997) / Jan Boerman

Publisher: Amsterdam: MuziekGroep Nederland / NEAR, 1998
Publisher's number: 11127
Genre: Chamber music
Subgenre: Electronic music
Instruments: soundtrack
Remarks: Elektronische muziek. - Met financiële steun van het Fonds voor de Scheppende Toonkunst. - Tijdsduur: 16'13''
Duration: 16'00"
Status: not yet digitized (expected delivery time 14 days)

Description:
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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