related works
Translucent I : for soundtracks and string quartet, 1976 / Ton Bruynèl
Genre:
Chamber music
Subgenre:
String quartet (2 violins, viola, cello); Electronics with different instruments; String quartet (2 violins, viola, cello) with multimedia
Scoring:
2vl vla vc tape
Symphony Nº 3 in F major, op. 90 : for orchestra / Johannes Brahms
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
2fl 2ob 2cl 2bsn bsn-c 4h 2trp 3trb timp str
Suite 16 : voor orkest, 1977 / Chiel Meijering
Genre:
Orchestra
Subgenre:
Orchestra; Voice and orchestra
Scoring:
222(sax-a)1 1000 str(8.6.4.3.2.) (woman's voice in part 3)
Symfonia : voor twee strijkers-koren, hout, hoorns en pauken, 1954 / Bertus van Lier
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
2222 2000 timp 2str
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)