composer
Ton Bruynèl was the first Dutch composer to set up his own electronic studio. Almost all of his works combine music performed live and taped sounds whose timbres, though electronically ...
related works
Schrootsonate : for harpsichord and soundtracks, 1990 / Ton Bruynèl
Genre:
Chamber music
Subgenre:
Harpsichord; Electronics with different instruments; Harpsichord with electronics
Instruments:
cemb tape
Drie choralen : voor orkest, opus 900a, 1996 / Jan van Dijk
Genre:
Orchestra
Subgenre:
Orchestra
Instruments:
1131 sax-a 2000 str
Genre:
Orchestra
Subgenre:
Orchestra
Instruments:
2122 2331 timp perc str
Genre:
Orchestra
Subgenre:
Orchestra
Instruments:
fl pic 2ob eh 2cl cl-b 2fg 4h 3trp 3trb timp perc hp str
composition
Cours des nuages : for soundtracks and string orchestra, 1998 / 1999 / Ad Wammes, Ton Bruynèl
Other authors:
Wammes, Ad
(completed by)
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)