related works
La vertigine : for bass baritone and soundtracks, 1989 / text by Bert Schierbeek, Ton Bruynèl
	
			Genre: 
		
		Vocal music
	
			Subgenre: 
		
		Voice solo; Multimedia and singing voice(s) with or without instrument(s)
	
			Scoring: 
		
		bas-bar soundtracks
	
Concertstuk : = (Pièce de concert), voor groot orkest, (pour grand orchestre) / Henri Zagwijn
	
			Genre: 
		
		Orchestra
	
			Subgenre: 
		
		Orchestra
	
			Scoring: 
		
		3333 4331 timp perc str
	
The pride parade : for orchestra, 1998 / Lowell Dijkstra
	
			Genre: 
		
		Orchestra
	
			Subgenre: 
		
		Orchestra
	
			Scoring: 
		
		3332 4331 timp 2perc hp str
	
Symphonietta humoristica : for orchestra / Julius Röntgen
	
			Genre: 
		
		Orchestra
	
			Subgenre: 
		
		Orchestra
	
			Scoring: 
		
		picc 2fl 3ob 3cl 3fg 4h 3tpt 3trb tb timp 3perc 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)