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
News Item in the Year of Mozart : for orchestra / Vladimir Martynov
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
picc 3fl 3ob 3cl 2fg cfg 4h 3tpt 2trb trb-b/tb str
Couleurs printanières : pour orchestre, op. 3, 1983 / Immanuel Klein
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
3233 4231 timp 2perc hp pf str(12.10.8.8.6.)
Approaching a City : for chamber orchestra, 2001 / Peter van Onna
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
2fl 2ob 2cl 2fg 2h trp trb 2perc pf str(8.8.6.6.4.)
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)