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
Dialogue I : bass clarinet, soundtracks, 1976 / Ton Bruynèl
Genre:
Chamber music
Subgenre:
Clarinet; Electronics with different instruments; Clarinet with electronics
Scoring:
cl-b tape
Memoryscape : for ensemble and soundtrack / Yannis Kyriakides
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
fl/pic/a-fl ob cl fg trp trb h tb pf perc 2vl vla vc cb tape
Variations for orchestra / Willem Duyn
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
2222 3331 str
Ombre Cinesi : for orchestra, 2005 / Willem Jeths
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
fl fl(pic) ob ob(eh) 2cl cl-b 2fg cfg 2h trp trp(trp-p) trb-t trb-b tb timp perc cel hp erhu(Chinese vl) 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)