SOUND SCULPTOR

Writing for a larger group of instruments has my particular interest. Although nowadays the orchestra mainly has the role of a historical museum ( it hardly keeps contact with contemporary repertoire) my ideas are mostly all related to the abilities of a larger group of instruments. I judge and use the orchestra as a very powerful machine, able to make a tremendous noise, comparable to the physical aspect that can be experienced with amplified popmusic. Next to this given aspect, I developed ideas that deal with a minuscule weaving of juxtaposed miniature sonorous fragments that are preferably unre lated. Resulting to a music that, in theory, perpetually changes direction harmonically, after very small time fractions. It relates to a working method that, in a sense, shows some similarity with an alchemistic way of thinking; it deals with regenerating material and the dificulties of identifying the diverse characters of the materials used- eventually trying to establish something of a higher structure. My compositions are generally very dense and hectic. All instruments are treated like a flock of birds or a shoal of fish. It trips over itself, deranges and proceeds like a tidal wave. All works written since 1998 have been more or less influenced by these ideas.

Since 2000 his works tend to incorporate other art disciplines, either by collaborating with other artists, or by including theatrical or visual elements. In 2008, he started designing sound sculptures for playgrounds and public areas in Sydney, thus creating a bridge to his earlier training and life as a visual artist.

After a contemplative period of about 5 years, during which only a few works for mainly small ensembles were established, Bowman's new challenge since 2010 is to create ultimate abstraction by eliminating his will and taste but preferably have visual and mathematical concepts generate new works.

In 1995 Ermita was nominated for the BUMA award. (This is the Dutch royalty association)

In 1998 Symphony Australia’s score reading panel advised Alchemia I for performance to the ABC orchestras, which resulted to the performance in 2005 by the Sydney Symphony Orchestra

Also in 1998, Entity for flute quartet received a Honourable Mention from the National Flute Association in the USA.

In 2001 The Residentie Orchestra The Hague, one of Netherlands major orchestras performed Time and Again.

In November 2005 Amsterdam Sinfonietta premiered Black Wind with soloist Claire Edwardes and multi media artist Susan Norrie in s-Hertogenbosch, Gent, Amsterdam, Groningen and subsequently in 2006 at the Adelaide Festival. In May 2006 the Violin was performed at the XXVIII Foro Internacional de Musica Nueva “Manuel Enriquez” in Mexico City and recorded on CD by Aniko Szathmáry in August 2006.

Some review quotes:

Sydney Morning Herald 19-07-05: “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 19-07-05: “The translucent textures he created from the orchestra, even in the loudest fortissimos, were truly remarkable”.

Adelaide Festival review 14-03-06: “....the dense scoring of the work, where fragments, threads of theme seem to emerge, then vanish, re-emrging 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...”