componist
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
Entity : for flute quartet, 1994-1997
Genre:
Kamermuziek
Subgenre:
Fluit
Bezetting:
pic(fl) pic(fl fla) 2pic(fl fl-b)
Brabantse rapsodie : voor symfonie-orkest, 1978 / Kees Schoonenbeek
Genre:
Orkest
Subgenre:
Orkest
Bezetting:
3222 3331 3perc str
Trekganzen (version 2014) : for orchestra / Chiel Meijering
Genre:
Orkest
Subgenre:
Orkest
Bezetting:
2fl 2ob 2cl 2fg 4h 2trp hp pf timp vibr perc str
Interpolations : voor orkest, 1968, (revisie 1981) / Jan van Vlijmen
Genre:
Orkest
Subgenre:
Orkest; Orkest met elektronica
Bezetting:
3353 3sax 4331 5perc cymb 2mar xyl 2el.g g-b man hp pf 2ham.org str(12.6.6.3.) electronics
compositie
Metamorphosis : for orchestra / Kim Bowman
Toelichting:
The writing of Metamorphosis for orchestra started off as an editing process of an old piece, written twenty years ago, using a composing application on the computer. Twenty years is a long time and the world and I had changed. Accordingly I saw the old piece disappear instead of being reworked and metamorphose into a new identity. It was like painting over an old canvas. Fresh music was written on top of the old. But undoubtedly some of the old had transferred into the new. And like the shell of a Cicada nymph that is left behind as a witness of the metamorphosis into its next stage in life and new form, the old piece is still hidden in the memory of the computer. Hypothetically by clicking ‘undo’ for every entry made to write the new piece, the old piece would eventually, after thousands of ‘undo’s’ re-appear from underneath.
Another analogy of this work process: Imagine a mountain range that is flooded until only the highest peaks remain above the water. That last bit of material that protrudes from the water becomes the new building blocks that I start expanding and multiplying into new structures.
"If" for soprano, violin, cello and orchestra written in 2016 has become a pivotal piece in my oeuvre in that it breaks with my previous hectic, recalcitrant style and dense scoring. It is much more a contemplative and smoothly flowing piece. Somehow Metamorphosis has revealed itself as a result of merging both styles of writing, but clearly is a much more aerodynamic piece than anything I have written before "If".