componist

Bowman, Kim

Kim Bowman (1957) Australia / the Netherlands My works have been performed throughout the world and commissioned and performed by major orchestras and ensembles, such as the Residentie Orchestra The Hague, ...

gerelateerde werken

Alchemia I : for orchestra, 1998 / Kim Bowman

Genre: Orkest
Subgenre: Orkest
Bezetting: 2222 2220 timp 5perc pf str

Another World : for symphony orchestra / Chiel Meijering

Genre: Orkest
Subgenre: Orkest
Bezetting: 2ft ob 2cl fg FH trp-Bb trp-C trm perc vl1 vl2 vla vc cb

It comes from afar : for symphonic wind orchestra / Martijn Padding

Genre: Orkest
Subgenre: Orkest
Bezetting: picc 3fl(fl-a) 2ob eh 2fg cfg 4cl cl-b cl-cb sax-s 2sax-a 2sax-t sax-b 4h 4trp 4tmb(trb-b) 2tb-t 2tb-b 5perc db

Symphonie no. 4 : Les victoires, 1940-1941 / Matthijs Vermeulen

Genre: Orkest
Subgenre: Orkest
Bezetting: 2fl 2fl(pic) 3ob 3h ob-bar 5cl 3fg cfg 2sax 4h 4trp 3trb tb 2timp 4perc str

compositie

Alchemia I : for orchestra, 1998 / Kim Bowman

Toelichting:
Program note (English): (Première: 17-08-2005, Sydney Symphony Orchestra cond. Reinbert de Leeuw) - An orchestra can be a very powerful machine, able to make a tremendous noise, comparable to the physical aspect that can be experienced with amplified pop music. Further things I want to achieve is that my music triples over itself, disarranges and proceeds like a tidal wave. In 1998 I started developing ideas that would exploit these aspects. They deal with a minuscule weaving of sonorous fragments that are prefarably unrelated. Because I did not want to invent the wheel once again, I took these fragments from works by composers that preceded me. This resulted to a music that, in theory, perpetually changes direction harmonically, after very small time fractions. This is only theory, because eventually due to the structure of the piece and the consistent instrumentation no one will be aware of it. What can be discerned though is a very dense and hectic music in which all instruments are treated like a
flock of birds or a shoal of fish. This working method, in a sense, shows some similarity with an alchemistic way of thinking; it deals with regenerating material and the difficulties of identifying the diverse characters of the materials used. Eventually trying to establish something of a higher structure. Alchemia I is the first work written with these aspects in mind. The piano functions a a sort of motor that drives the orchestra, almost like the harpsichord player in the Baroque. I prefer the pianopart to be played by the orchestra's pianist, though the staging of the piano can be at the soloist position. - KIM BOWMAN