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When Ton Bruynèl was still studying the piano at the conservatory, he categorically refused to accompany a trumpet student on the piano. He took such exception to the stark contrast between the timbres of these two instruments, that he put up with being suspended as a result.

This unusual interest in timbre became one of the main characteristics of Bruynèl’s compositions. From 1957 he had his own studio and could adapt sounds whenever he wanted and entirely in his own way. The main aim was not the pleasure of creating new sounds through electronic means, but the colouring that is achieved by mixing electronic and acoustic sounds with similar qualities. This is the main subject of nearly all Bruynèl’s compositions. In most of his compositions the material for the soundtracks is developed through electronic means. Usually this material has a clear relationship with the instrument or ensemble that will enter into a dialogue and synthesis with the soundtracks.
For example, in a composition such as Continuation for choir and soundtracks the electronic sounds seem to form strange ‘shadow choirs’. However, the human voice was not used in creating these soundtracks; it is only a matter of relationship and not of reproduction.
Bruynèl could be inspired by everyday things. For example, the nature in France and Spain often forms the point of departure for a composition, around which numerous new sound ideas crystallise. Sometimes these sounds from real life have been transformed in the studio until they fit the soundscape of the new work. In the composition Serène (Serenade) from 1978 the call of a little Mediterranean owl forms the centre around which the electronic sounds and the flute playing revolve. According to Bruynèl the visual arts are also part of everyday life. The scrap sonata Chatarra for harpsichord and soundtracks from 1991 not only refers to the shell of a burnt-out grand piano and the demolition of the Berlin Wall, but foremost it pays tribute to the machines made out of scrap metal by the sculptor Jean Tinguely, to whom he dedicated this work.

As the various techniques from his time, such as serialism and micro tonality, are always tangible through the foundations of Bruynèl’s compositions, they are both topical and individual. The ironic personality of the composer is ever present in his work. John Paagiviströmn’s words from the text for the manifesto Denk mal, das Denkmal from 1984 rightly apply here: ‘Sei ruhig, mein Kind, es sind nur elektronische Klänge. Und ich bin es.’

Kees Arntzen