I have a background in improvised and contemporary music performance and construction, as well as music for dance and theatre. I have performed contemporary compositions for Bass Clarinet, with or without tape, I have made music for theatre and dance etc.

At the moment i mostly study and use extended playing techniques and freeform improvisation on the bass clarinet, departing from the tone richness and complexity of the instrument into a deeper understanding of music, the instrument, and what it means for me. with digital electronic setups and environments I further or deeper research and experience of linear, non linear and simultaneous forms of expression within the realms of electronic and acoustic sound and and expanding my possibilities .

I have performed contemporary compositions for Bass Clarinet, with or without tape. At the moment i mostly study extended playing techniques and freeform improvisation, departing from the tone richness and complexity of the instrument into a deeper understanding of music and contemporary experiencing of linear, non linear and simultaneous forms of expression within the realms of sound and within the limits my possibilities.

I refuse to narrow down my musical options and or possibilities, nor do i like it when i meet cliche expectations concerning instrument or style (especially from within myself).

Besides being an instrumentalist and researcher I am engaged in making and producing (and performing live when possible) radioplays and docufictions for radio. In these forms places, people and words share time and space with literal and abstract forms of fieldrecordings and music. I find it a challenging and rewarding playing field, where the audiences are seduced but also expected to come further.

I compose and perform music for modern dance, film and installation art. (more info on my project page on my website) because of the universal connectivity between movement and sound, movement and image, image and sound, sound and sound i feel i cannot get enough diversity in my projects and encounters with other arttists, how brief they may be, it will enrich us ever more. I believe also as i have learned and practiced in my years as a theater composer and performer (within multimedia theater installations) that the way to be in modern performing art is addressing the lack of concentration on a global scale – that has to come from the artist and must be within a relentless simultaniousness in our artworks just as in live itself. Concentration means paradpoxically also tthat i am equally fascinated by simplicity and detail, and love repetitif behaviour of melodic and rythmic figures. But at the same moment someone else may play a typewriter, preach a sermon, eat a peach

I have a background in improvised and contemporary music performance and construction, as well as music for dance and theatre. I have performed contemporary compositions for Bass Clarinet, with or without tape, I have made music for theatre and dance etc.

At the moment i mostly study and use extended playing techniques and freeform improvisation on the bass clarinet, departing from the tone richness and complexity of the instrument into a deeper understanding of music, the instrument, and what it means for me. with digital electronic setups and environments I further or deeper research and experience of linear, non linear and simultaneous forms of expression within the realms of electronic and acoustic sound and and expanding my possibilities .

I have performed contemporary compositions for Bass Clarinet, with or without tape. At the moment i mostly study extended playing techniques and freeform improvisation, departing from the tone richness and complexity of the instrument into a deeper understanding of music and contemporary experiencing of linear, non linear and simultaneous forms of expression within the realms of sound and within the limits my possibilities.

I refuse to narrow down my musical options and or possibilities, nor do i like it when i meet cliche expectations concerning instrument or style (especially from within myself).

Besides being an instrumentalist and researcher I am engaged in making and producing (and performing live when possible) radioplays and docufictions for radio. In these forms places, people and words share time and space with literal and abstract forms of fieldrecordings and music. I find it a challenging and rewarding playing field, where the audiences are seduced but also expected to come further.

I compose and perform music for modern dance, film and installation art. (more info on my project page on my website) because of the universal connectivity between movement and sound, movement and image, image and sound, sound and sound i feel i cannot get enough diversity in my projects and encounters with other arttists, how brief they may be, it will enrich us ever more. I believe also as i have learned and practiced in my years as a theater composer and performer (within multimedia theater installations) that the way to be in modern performing art is addressing the lack of concentration on a global scale – that has to come from the artist and must be within a relentless simultaniousness in our artworks just as in live itself. Concentration means paradpoxically also tthat i am equally fascinated by simplicity and detail, and love repetitif behaviour of melodic and rythmic figures. But at the same moment someone else may play a typewriter, preach a sermon, eat a peach

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older cd’s

Ambush – Dull Schicksal 1997

Ambush – Dull Schicksal 1997

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Myth Again at Roodkapje

After intense rehearsals and about a year and a halve of discussions, inspiration sessions and living room reflective performative events we had the chance on the 21st of December ’13 at Roodkapje in Rotterdam to open Myth Again #1 on its experimental phase to an audiences. Myth Again (video, movement and image) is an approach to performance via a synergetic mode. We are looking forward to reflect on this first step and carry on exploring the path way which is Myth Again. Myth Again #1 is: Guilherme Miotto, Henk Bakker and Peter van Till

watch some selection of the project here Myth Again Project Page

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Theatre Works with director Carina Molier

Between 1997 and 2006 in collaboration with director Carina Molier realised several multimedia dynamic theatre installations/plays, by means of compositions, and interactive soundscapes (performed live)

Chelsea Girl 1997), met oa Juda Goslinga, Katenka Woudenberg
Zuid Zuid West (1999)
Big Boy (1999) (NesTheaters)
Ruigoord De Geboorte (2000) en Ruigoord II (2001)- (Toneelgroep Amsterdam), met o.a Joop Admiraal en GJ Reijnders
Queen and King (2002) (Paradiso/Melkweg Prod.) met Lotte Proot
Huis van de Toekomst (2006) (Toneelgroep Amsterdam) met Halina Reijn

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