related works
From the Tripod : for loudspeakers, women and listeners / words John Paagiviströmn, by Ton Bruynel
Genre:
Vocal music
Subgenre:
Female choir; Multimedia and singing voice(s) with or without instrument(s)
Scoring:
VK3 soundtracks
Intermezzo : from the opera Naima, for orchestra, 1986 / Theo Loevendie
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
2fl fl(pic) 2ob eh 2cl cl-b 2fg cfg sax-a 4h 4trp tb-b timp 3-4perc hp pf(cel) str
Trittico : per orchestra da camera, opus 105, 1978 / Lex van Delden
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
0200 2000 str
Hora : voor orkest / Wim Petersma
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
4444 4431 str(12.12.10.8.6.)
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)