Bruynèl, Ton

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 ...

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Cours des nuages : for soundtracks and string orchestra, 1998 / 1999 / Ad Wammes, Ton Bruynèl

Publisher: Amsterdam: Donemus, 1999
Publisher's number: 09693
Genre: Orchestra
Subgenre: Orchestra; Orchestra with electronics
Scoring: str tape
Remarks: Voltooier: Ad Wammes. - Soundtrackpartij ontbreekt in de partituur. - In opdracht van het Fonds voor de Scheppende Toonkunst. - Cop. 1998. - Tijdsduur: 18'21''
Duration: 19'00"
Year of composition: 1998
Status: fully digitized (real-time delivery)

Other authors:
Wammes, Ad (completed by)
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)

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