Ton Bruynèl (1934-1998)
Born in Utrecht, he studied piano performance at the city's Conservatory from 1952 till 1956 under Wolfgang Wijdeveld. He also studied electronic music at the universities in his home town and in Delft.
In 1957 he was the first in The Netherlands to create his own electronic music studio. Beginning in 1970 he taught electronic composition at the Utrecht Conservatory.
Bruynèl was the author of an impressive number of electronic compositions, which often combine the visual arts and poetry (e. g. Collage Resonance II, written together with the poet Gerrit Kouwenaar). He also arranged electronic sounds with voices and instruments.
He has presented his works at the Amsterdam City Museum (Signs for wind quintet and tape, 1969; Kubus Sound Project with the architect Aldo van Eijck and the sculptor Carel Visserem, 1970). His composition Phases was performed during the iscm World Music Days in Paris (1975). His works have been performed in Poland, Italy, Germany, France, the United States, Canada and Australia.
His work Mobile for tape was honoured as the best Dutch composition during the Gaudeamus International Music Week in 1966. His compositions Adieu petit prince and Chicharras received awards at the International Electroacoustic Music Competition in Bourges.
Ton Bruynèl died in 1998 in Mailly, France.

Selected works: Reflexes for tape derived from a Burmese drum (1961), Resonance I, performance with C. Tajiri and S. Middleton (1962), Collages Resonance II for poetry and tape (with G. Kouwennar; 1963), Relief 1964 for organ and tape (1964), Mobile for tape (1965), Milieu for tape and organ (1966), Freem, film music (1966), Arc for organ and tape (1966), Mécanique for wind quintet and tape (1967), Decor, ballet music (1967), Signs for wind quintet and tape (1969), Ingredients for piano and tape (1970), Mobile, version II for tape (1971), Looking Ears for bass clarinet, piano and tape (1972), Elegy for tape and ad lib. female voice (1972), Phases for tape and orchestra (1974), Soft Song for oboe and tape (1974), Dialogue I for bass clarinet and tape (1976), Translucent I for tape and string quartet (1977), Listening Landscape for tape (1977), Translucent II for tape and string orchestra (1978), Serene for flute and tape (1978), Toccare for tape and piano (1979), From the Tripod for female chorus and tape (1981), Rain for two pianos (four pianists) and tape (1982), Adieu petit prince for voice and tape (1983), Denk mal das Denkmal for bass-baritone (1984), Continuation for chorus and tape (1985), Chicharras for voices and tape (1985), John's Lullaby for chorus, string orchestra and tape (1985), Kolom for organ and tape (1987), Nocturno en Pedraza for flute and tape (1988), Ascolta for tenor, chorus or tape (1988), Intra for bass clarinet and tape (1971/89), Non solo un uccello for tenor, bass-baritone and tape (1989), La vertigine for bass-baritone and tape (1989), Save the Whale for bass clarinet and tape (1989), La dernière pavane for chorus and tape (1989), La caduta for tenor, bass baritone i tape (1990), Tropico for tenor, bass baritone and tape (1990), Schrootsonate for harpsichord and tape (1990), Dust for organ and tape (1992), Le jardin for female voice, alto flute, harpsichord and tape (1993), Le temps tricheur for chorus and tape (1994), Brouillard for piano and tape (1994), Cours de nuages for tape and string orchestra (edited by Adam Wammes; 1998).

In the piece Toccare the tape part, which is composed of vibrations caused by applying electric impulses on pieces of metal of various thickness, is combined with the unique sound of the harpsichord, in a way that creates a mysterious sound world.