Kim Bowman 1957 (Australia / the Netherlands) .
Bowman's works have been performed throughout the world and commissioned and performed by major orchestras and ensembles, such as the Residentie Orchestra The Hague, Amsterdam Sinfonietta, Holland Sinfonia, the Sydney Symphony Orchestra and the Meridian Arts Ensemble New York. Reinbert de Leeuw, David Porcelijn, Etienne Siebens, Lucas Vis and Jac van Steen, among others, have conducted his works.

Kim Bowman, born in Margaret River, WA, was mostly educated in the Netherlands, where he started art school in 1974. A few immature compositions date from those years. He also played guitars and drums in several New Wave bands. Bowman started composition studies with David Porcelijn at the Utrecht Conservatorium of Music in 1986. He continued his studies with Claas de Vries at the Rotterdam Conservatorium of Music. He minored in cello, double bass and piano. Since 2005 he has been living in Sydney.
He is particularly interested in writing for orchestra. In 2016 he wrote a piece for soprano, violin, cello and orchestra called If (scheduled with one of the BBC orchestras under Jac can Steen for 2018/2019) which is written in a much more contemplative style compared to his previous compositions, which are generally very dense and hectic.
Bowman uses an array of starting points, techniques and disciplines for his work:
• For several of his works Bowman designed additional instruments and collaborated with other artists. For Black Wind, he designed footslaps, as well as triangles suspended from the performers’ desks and wind chimes that were accelerated by huge wind fans on either side of the stage. Black Wind was a collaboration with artist Susan Norrie.
• Particles for chamber orchestra, written early 2011, was initiated by quantum particle behaviour.
• Syllables to Attitudes, a work for 2 female voices and orchestra, written in 2012 makes use of broken down language in order to avoid meaning and narrative. The conductor manages a metal bucket with pebbles and claps his way on stage and in many ways musicians and singers are strained to go beyond the conventional performance of music by means of expressing themselves in theatrical ways.
Kim Bowman's works are published in the Netherlands by Donemus and in Australia by the Australian Music Centre. Various works are recorded on CD.
• In 2001, The Residentie Orchestra The Hague, one of the Netherlands' major orchestras, performed Time and Again under Jac van Steen.
• Alchemia I was performed in 2005 by the Sydney Symphony Orchestra under Reinbert de Leeuw.
• In November 2005, Amsterdam Sinfonietta premiered Black Wind at the November Music Festival with Sydney percussion soloist Claire Edwardes and Belgian conductor Etienne Siebens in Den Bosch, Gent, Amsterdam, and subsequently at the 2006 Adelaide Festival.
• In the same year, The Violin was performed at the XXVIII Foro Internacional de Musica Nueva 'Manuel Enriquez' in Mexico City by Roman Revueltas. The Violin was previously recorded and performed many times by German violinist Aniko Szathmary.
• Brassquintet and Percussion was commissioned by the November Music Festival in the Netherlands for the Meridian Arts Ensemble New York and performed many times from 2003 on.
• The Sydney Morning Herald. 2005 performance of Alchemia I (19 July 2005): 'It seemed he had put the orchestral repertoire of the 20th century into a washing machine and set it to spin. It suffered from overdense scoring but, like the white wash with that red sock left in, was smattered with colour and insight'.
• The Australian (19 July 2005): 'The translucent textures he created from the orchestra, even in the loudest fortissimos, were truly remarkable'
• Adelaide Festival review (14 March 2006) about Black Wind: '....the dense scoring of the work, where fragments, threads of theme seem to emerge, then vanish, re-emerging later, but transformed, then vanish again. The music, containing many of these tiny thematic elements, constantly twists, turns and evolves creating complex aural patterns rather then conventionally structured music...'
• City Messenger (16 March 2006): ' impressive Black Wind [....] gradually shimmering into silence in a memorable performance'.



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. I had wanted to change things to this old piece for quite some time. 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 out of the water becomes the new building blocks that I start expanding and multiplying into new structures.
Metamorphosis was written in 3 weeks and finished early January 2017


... the SCO has been doing very interesting work indeed and certainly worthy of support.

A/Prof Stuart Geoffrey Andrew Greenbaum, Composer (Australia)


­ amazing energy, funding and collecting works is needed to organize and realize an orchestra such as SCO and all these wonderful concerts, you make the quality of music rise in every musical work and there are not a lot of you out there.

Trimor Dhomi, Composer (Kosovo)



I'm very excited to hear your interpretation and to bring the piece to life!

Luke Flynn, Composer (USA)