composer

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, ...

related works

1494 : for voice and instrumental ensemble, 1992-1993 / Kim Bowman

Genre: Vocal music
Subgenre: Voice and large ensemble; Voice and orchestra
Instruments: sopr(perc) 1001 2200 2perc hp pf vl vla vc cb / sopr(perc) 1001 2200 2perc hp pf str

Pulse palace : for orchestra, 1992 / Huib Emmer

Genre: Orchestra
Subgenre: Orchestra
Instruments: 2fl 2ob 2cl 2fg 2h 2trp trb tb vibr str

Preludium festivum : opus 17, per orchestra, 1987 / Rick Debie

Genre: Orchestra
Subgenre: Orchestra
Instruments: 2222 2200 timp 2perc str

Sinfonietta : voor klein orkest, 1932-33 / Hugo Godron

Genre: Orchestra
Subgenre: Orchestra
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composition

Metamorphosis : for orchestra / Kim Bowman

Publisher's number: 16461
Genre: Orchestra
Subgenre: Orchestra
Instruments: 2fl 2ob 2cl 2fg 2h 2tpt trb-b trb-b timp perc str
Duration: 10'30"
Year of composition: 2017
Status: fully digitized (real-time delivery)

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".

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