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 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

Overview of various other projects between 1992 and 2012

Chamber musics: modern composed, live improvised, hybrid forms

-Duoprogram with fluteplayer and innovator Anne Laberge, solo’s en duo’s with live elektroniks. (1997/98)
-Trio NU; modern compositions for flute, bassclarinet and piano with Pauline Post and Raymond Honing(1990/1993)
-Projectes with poet/performer Cor Gout
-Co-Producer of parts of the Recyclops project With Frans Friederich and Robert Kroos(disko B) (1996/2000)
-Trio Aim: improvisations with Arend Niks en Wilbert de Joode (1995/1996)
-Paul Termos Dubbel Express, (new Dutch swing) – (1996/1997)
-Bassclarinet Culture Soloprogram; (compositions, improvisations en soundsculptures) 1992/1994
-Duo Friederich/Bakker (techno,ambient,jungle,1992/1994) –
-Co-producer en participator of Recyclopedia(D) – jaren 90 plunderphonics
-Gates (project by Gerard van Dongen with Ann laBerge, Peter van Bergen – compositions and improvisations with interactif elektroniks), (2003/2004)
-Project with artist William van Engelen (grafcal improvisations).
-Elektronik Quartet TEC 97 with Huib Emmer, Artur Sauer and Frans Friederich
– Gerard van Dongen 5tet (akkoestical improvisation and compositions) – (2003)
– Project met Bart van Dongen (elektro-akkoestical improvisation) (2004
– Dull Schicksal and Dull Schicksal Extended (1996,1997, 1998)
– Workshops for and with the Rotterdam Improvisation Poel (1992/1994)

Various electronical studio projects

– Heimseh; bassclarinet and electroniks: excercizes in techno with composer Huib Emmer (2007/2012)
– Henry and Joe; flowing, alternating and processing in digital realm; (with Johan de Koeyer, aka Donkey Hare Joe)
– Static Tics/ Xstatic Tics; with L Simonis (digital rock improv, soundscapes and cut up sampling) (2000 onwards)
– Hek, drBadvibes/hekvibes: solo productions with digital tools and elektro-accoustical improvisations, radiojingles
– Subterraneanact: duo project with Malorix: elektro-accoustical musics; combination drums and bassclarinet and elctronics (2005 onwards)