composer
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, ...
related works
Alchemia I : for orchestra, 1998 / Kim Bowman
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
2222 2220 timp 5perc pf str
Rito : musica per una coreografia immaginario, per orchestra, 1979, (revisione 1981) / Wim Laman
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
2232 2221 3perc hp str(8.8.6.4.4.)
Three preludes : for orchestra, 1993-1994 / Tristan Keuris
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
fl 2fl(pic) 2ob eh 3cl cl-b 2fg cfg 4h 3trp 3trb tb timp 3perc hp str(14.12.10.8.8.)
De negen symfonieën van Beethoven : voor promenade-orkest en ijscobel / Louis Andriessen
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
2fl 2ob 2cl 2fg 4h 3trp 3 trb timp 2perc pf el.g g-b str
composition
Metamorphosis : for orchestra / Kim Bowman
Description:
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".