related works
Intra : for bass clarinet and soundtracks, 1971, revision 1989 / Ton Bruynèl
Genre:
Chamber music
Subgenre:
Clarinet; Electronics with different instruments; Clarinet with multimedia
Scoring:
cl-b tape
Sinfonia Nº 7 : per orchestra / Jan van Dijk
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
2222 2320 timp 2-3perc str
Cinq impromptus : für Kammerorchester, 1958 / Ton de Kruyf
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
1222 2110 perc str
Sinfonietta : (1938) / Henri C. van Praag
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
1211 2000 str
composition
Cours des nuages : for soundtracks and string orchestra, 1998 / 1999 / Ad Wammes, Ton Bruynèl
Other authors:
Wammes, Ad
(Completed by)
Bruynèl, Ton
(Composer)
Description:
Program note (English): Ton Bruynèl's final works - his Cours des Nuages and video opera Non sono un ucello - demonstrate clearly his fascination with humanity's eternal dream, the possibility of flying. The transcendental character of electronic music inspired Bruynèl to create sounds which belong to the realm of light and unearthly visions. Works such as Listening Landscape, Serene, Imker and Le jardin, in wich the composer processed sounds taken from nature, testify to his deep affection for this world. He was also drawn to the sound of traditional instruments, and thus he strove to fuse natural (acoustic) and electronic sounds in his music. He said: 'It would be absurd if I would just announce, 'Listen, we no longer need those violins!'. His work contains many timbral experiments, combined in extensive juxtapositions. With a whole arsenal of sound elements, he composed intuitively, spontaneously, standing at the electronic apparatus and creating his compositions in his way. He was firmly opposed to formal constructions in music, and his motto was 'Listen to what the sound tells you...'. Combining equal-tempered string harmonies with microtonal sound fields of the soundtracks and with an almost inaudible metre, he created the unusual, fluidly floating spheres of Cours des Nuages. Towards the end, by gradually reducing the instrumentation, the work seems to literally disappear in the clouds ... (CHRISTIANE SCHIMA, transl. Patricia Werner)