related works
John's lullaby : mixed choir, string orchestra, soundtracks, (1985) / Ton Bruynèl
Genre:
Vocal music
Subgenre:
Mixed choir and orchestra; Multimedia and singing voice(s) with or without instrument(s)
Scoring:
GK4 str(6.6.6.6.0.) soundtracks
Symphonische ouverture : 1942 / Henk Badings
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
3333 4431 timp 2perc str
Il cibo per la Musica : a musical menu for symphony orchestra / Rieteke Hölscher
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
fl ob 3cl sax-a h 4tpt tb 2/3timp perc str
Symphonie no. 3 : Thrène et Péan, 1921-1922 / Matthijs Vermeulen
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
2pic 2fl(pic) 2ob ob(eh) 2cl cl(cl-b) 2sax 4fg 4h 4trp 3trb tb 2timp 3perc 2hp str
composition
Cours des nuages : for soundtracks and string orchestra, 1998 / 1999 / Ad Wammes, Ton Bruynèl
Author(s):
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)