related works
Schrootsonate : for harpsichord and soundtracks, 1990 / Ton Bruynèl
Genre:
Chamber music
Subgenre:
Harpsichord; Electronics with different instruments; Harpsichord with multimedia
Scoring:
cemb tape
Slunovrat : = (The solstice = Zonnewende), for symphony orchestra, 1978 / Daniel Brozak
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
3333 4331 timp 6perc hp str
Anaphora : for large symphony orchestra / Alexey Retinsky
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
4fl/picc 3ob/eh 3cl 3fg/cfg 6h 4tpt 3trb tb 5perc hp g-e keyb str
Cosmic Cliffs : for chamber orchestra / Bram Kortekaas
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
2fl(picc) 2ob 2cl 2fg 2h 2tpt timp 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)