CALLS FOR original Re:compositions of XX century experimental MUSIC

_no dead line_
_no censure_

Re:composed? Take the same ingredients to make another music. The opposite of copy-paste composition technique.
The project of XX Century Contemporary Composer Re:composed started in 1995, when we felt the XX century contemporary music's death after more than fifteen years of agony.[we try a way to build what XX century contemporary music destroyed : the futur of our avant-garde music sense]
But what was XX century contemporary music? At the beginning, a free music outside formatted rules of convention (or trying to escape the conventions), but with lot of serious and unbearable attitudes. That became an abstract and erudite music for an international elite that even couldn't understand what was going on. We never knew why most of contemporary music performance was so serious? To loose their audience? Our workshop of XX century contemporary composers re:composed is an arbitrary test of what could be the restart of a free music accepted creation, but with sense of fun of course. Too much seriousness kills art.  Here, we build the XXI century Infinite Collection of Free Re:composed Music made by Free Unexpected Composers from all over the world.
It is time to create music for Public Domain that everybody can access for free.
The original project started in 1996 online until today 2011

« C'est dans les re:compositions que l'on peut constater vraiment comment les nouvelles générations de compositeurs ont digéré les précédentes. »
« Re:composer la musique d'un compositeur révèle comment d'autres compositeurs composent. »
« L'aspect pédagogique de la re:composition est indéniable. »

« La re:composition est un exercice pédagogique très efficace pour apprendre le métier de compositeur. Elle permet de rentrer dans le coeur et l'esprit de la composition re:composée en la réadaptant à ses propres penchants compositionnels. La re:composition permet de se situer historiquement par rapport aux compositeurs re:composé et d'en retirer l'avantage de comprendre à la fois sa propre filiation et ses différences par rapport aux compositeurs re:composés. Nous recommandons vivement à toutes les écoles de musique et aux aspirants compositeurs de pratiquer la re:composition libre afin de former sa propre personnalité musicale. »



Copyright has a sense for dealers, not for artists. Soon it will become obsolete. Copryright works against knowledge. We proclaim in this project: music against copyright, to preserve the freedom of music against ownership business to the detriment of composers and music, like it happens today.*


non exhaustive list of re:composed XX century composers proposed by re:composing composers [_ = links to composers pages]:

... dead
antonin artaud
(1900-1959) george antheil
(1883-1965) edgar varèse - the re:compositions vol3.01 ++++++
(1918-1970) bernd alois zimmermann
(1901-1974) harry partch
(1893-1979) ivan wyschnegradsky
(1945-1979) demetrio stratos
(1949-1983) cathy berberian
(1901-1985) jean dubuffet
(1905-1988) giacinto scelsi (comte d'Ayala Valva)
(1911-1990) vladimir ussachevsky
(1924-1990) luigi nono
john cage
maurice ohana
(1908-1992) olivier messian
(1921-1994) anestis logothetis
(1910-1995) pierre shaeffer
(1930-1996) toru takemitsu
(1912-1997) conlon nancarrow
(1946-1998) gérard grisey
(1926-1998) david tudor - the re:compositions vol5.01
(1922-2001) iannis xenakis - the re:compositions vol4.01 ++++
(1925-2003) luciano berio - the re:compositions vol7.01
(1924-2004) claude ballif
(1929-2005) luc ferrari
(1923-2006) gyorgy ligeti - the
re:compositions vol8.01 +
(1925-2007) isidore isou
(1928-2007) karlheinz stockhausen - the re:compositions  vol1.01 +++++++++++ is completed [2003] the re:compositions  vol1.02 +++
(1922-2008) henry chopin
(1931-2008) mauricio kagel - the re:compositions vol6.01
(1942-2008) horaţiu rădulescu
(1929-2009) henri pousseur
(1926-2012) ilhan mimaroglu
(1930-2014) robert ashley
(1940-2015) nguyen-thien dao
(1925-2016) pierre boulez
(1929-2016) josef anton riedl +
... alive
(1925) ivo malec
(1927) pierre henry - the re:compositions vol2.01 +++
(1929) boguslaw schaeffer
(1930) dieter schnebel +
(1931) alvin lucier
(1931) sylvano bussotti
(1932) éliane radigue
(1933) murray schafer
(1933) krzysztof penderecki
(1934) vinko globokar
(1935) la monte young
(1935) terry riley
(1935) françois-bernard mache
(1936) steve reich
(1936) philip glass -
(1938) jean-claude eloy
(1938) jean-claude risset
(1939) leo brouwer
(1939) heinz holliger
(1943) gavin bryars
(1944) michael nyman
(1945) georges aperghis
(1949) michael lévinas
(1949) david toop

... +
= received re:composition


re:composers who sent a re:composition, the new generation of composers:

acapulco laps
alain de filippis (1950 - 2010)
www.granuvox.free.fr inaccessible
alexis bosch
alfred harth
andrea martignoni
androvirus (1972)
david fenech
dick acidsoxx
falter bramnk
fedaden [sc ms]
hagop gehlhaar-matossian
igor stevanovic [ms]
jim jandt
laurent dailleau (1959-2013)
lefteris papadimitriou
le vieux thorax
mario aloe
mathius shadow-sky (1961)
matthew ostrowski
nicolas brasart
nikola kodjabashia [ms]
richard riewer
rolf gelhaar (1943)
shauly denneboom
techtel mechtel
toy bizarre

refused re:composition (it happened in 2011!)

we are waiting for others, the new composers' generation to continue this courageous adventure.


2003_Re:composers Band poster
dOwnlOad in One clic re:cOmpOsed cOmpilatiOns

RE:COMPOSITION RECIPE: choose the contemporary composer you want to re:compose, compose 6 minutes maximum of music, through sounds, score, text, picture or movie with the composer's material you choose, then send your creation (DAT or CD-R or CD rom or floppy disk [pc or mac] format) to: le centre de la bombe (e-mail to ask for recent mail address), to put your original creation with others in le centre de la bombe web site and on disk when it will be complete. Remember, a re:composition can be:
• .|. a recorded music (AIFF or WAV file),
• .|. a score (MIDI file)
• .|. a text (.txt or .doc or .rtf)
• .|. a picture (jpeg)
• .|. a movie (Xvid)
• .|. an animation (Xvid/Flash)



Music beyond copyright by the born-French composer Myster Mathius Shadow-Sky.

"The idea of re:composing contemporary composers' music from the XXth century, grew up when I was sampling(1) for fun the LP Momente. My wish was to make a piece with K. Stockhausen's music in total opposite of his musical approach: to sound Momente like a folkloric music from Slavic countries! And this is the piece: Momente_shacked:_Hurry-up! First I was planning to make a CD with just my re:compositions of emphasis composers but Gyorgy Kurtag jr in 1996 asked me: "why not to share my project with other artists?" I liked the idea and I made lots of announcements in music magazines, newsletters, etc. in Europe and US. After waiting 7 years to receive re:compositions on DAT or CD, I am surprised that we are today only few composers who are sticking with the idea to evolve music! re: is a response. I thank you all re:composers to make this project possible."

(1) a sampler is an audio machine that use any sound to create a musical instrument, sampling is the action to record a sound and to use it as an instrument.

Myster Shadow Sky interviewed by Louis Rouaut, Radio Toulouse 1996. Updated 2003


simply said:
centrebombe re:composition project is: using other's music to make others original music to built a huge and infinite collection of re:composed free music by alived composers who will be re:composed by other composers and so on indefinitely, and to protect all these different re:composed music together in public domain and copyleft protection.


This project is also an healthy reaction against the non sense of today's copyright and royalties (droits d'auteurs). Why copyright and royalties is a non sense today? Because most of unknown artists has a small chance to get her/his entire royalties. Most unknown professionnal alive composers today work for free! Because their royalties are not paid. So why, we have to continue to feed big companies with our free work? Le centre de la bombe is not agree with this monopoly of national royalties institutions, and each composer should have its own organization to get her/his royalties. This is what le centre de la bombe try to do: to stop this exploitation through the re:composition project.. *

All music in this project are under the copyleft protection. It means that they cannot be used by any company to make business of it. We composers proclaim and support this law against abusive business. We, unknown composers, volontary offer our re:composition to public domain protected against business exploitation. All alive composers decide by participating in this project to "give" her/his re:composition to public domain protected against business exploitation.


* All these music called "re:composition" are not businessable and protected by non-commercial international rights.
Toutes ces musiques sous la dénommination : "re:composition" sont non commercialisables par accord international.
** 10 years after the centrebombe free re:composion project, Deutsche Grammophon publishes recomposed albums with one techno musician. [2006 news]


Le centre de la bombe's workshop of "XX century contemporary composers re:composed" doesn't seek to emphasize any contemporary re:composed composers. Contemporary music was in second half of XX century, an open door to free creation (like ever it happens in Western musical history) that the end of XX century closed it - for several reasons.
These compilations of "re:compositions" of XX century contemporary composers pieces by today's musicians, try to create a link. A link between what was the freedom of creation of the second half of XX century bringing back in our XXI century excited more by money than by the freedom of original creation.Our re:composition project has no obliged rules or instructions (just 6mn max of duration per re:composition to fit 12 different re:composers per album, that some composers cannot respect, but does it matter?) and any controlled submission: everybody is free to create its own music with matter of XX century contemporary composers' music. There is no 1rst price to excite the mercantile sense of profit who kills free original musical creation, just the pleasure to be together on the same project. We are not supporting any commercial companies or advertising with free participation of composers! All re:compositions are copylefted even for the subjective identified parts of composer re:composed's piece/s. We make free music for free mind people.*Don't think that we are nostalgic of rigorous XX century composition techniques (like serialism, collage, spectralism, or other closed algorithmic forms, etc.) that hopefully today's some young composers make it evolves in complexity or simplicity, but does it matter? we are attached to uncompromised way of original creation to have fun with enthusiastic audience that could appreciate our "crazy" music.

mathius shadow-sky, january 2003

L'atelier du centre de la bombe : "XX century contemporary composers re:composed" ne cherche pas à établir un culte des personnalités re:composées, comme certains compositeurs re:composables doivent se l'imaginer. La musique contemporaine à été dans la seconde moitié du XXème siècle, une ouverture à la liberté de création (comme jamais cela s'est présenté dans l'histoire de la musique occidentale) que la fin du dit siècle a refermé - et dont les causes sont multiples.
Ces compilations de "re:compositions" de pièces de compositeurs de musiques contemporaines par de jeunes musiciens d'aujourd'hui, essayent de créer un lien. Un lien entre ce que fut la liberté de création de la seconde moitié du XXème siècle ramenée dans notre XXIème siècle exacerbé par le profit au détriment de sa propre liberté créative. Notre projet de re:composition n'a aucune règles ou instructions obligatoires (seulement 6 minutes de durée maximum pour la re:composition, pour que au moins il y ai 12 re:compositeurs par album, mais est-ce vraiment important ?) ni une inscription sous contrôle : chacun est libre de créer sa propre musique avec les matériaux musicaux des compositeurs contemporains du XXème siècle. Il n'y a pas non plus de 1er prix qui excite plus l'esprit du profit et annihile la création libre, seulement le plaisir d'être ensemble dans le même projet. Nous ne supportons aucune compagnie commerciale ou publicitaire avec une participation libre d'artistes ! Toutes les re:compositions sont sous la protection du copyleft international ainsi que les parties de musiques subjectivement reconnaissables des compositeurs re:composés. Nous créons une musique libre pour ceux qui désire cette liberté.*Nous ne sommes pas nostalgiques des techniques de composition musicales rigoureuses (comme le sérialisme, le collage ou le spectralisme, ou tout autre formes algorithmiques fermées etc.) de cette époque qui grâce à certains jeunes créateurs ont aujourd'hui évolué (en complexité ou en simplicité, peu importe), mais nous sommes très attaché à l'esprit de création et d'originalité sans compromis pour générer du plaisir avec des public enthousiastes qui puissent apprécier nos musiques de "fou".

mathius shadow-sky, janvier 2003


-_• Ne pas confondre emprunt ou citation avec centrebombe-re:composition [txt] : |+++|


It is difficult for us, in the center of the bomb, to sacrifice intelligence in music composition for compromising easy music just to believe that stupid music will sell more CDs or bring more people in concert hall! That means that most today's music producers think that music customers are stupid... Are we?


Nous disons bien RE:COMPOSITION et non pas REMIX. Le remix est un mixage (un [re]dosage) refait à partir des pistes originales enregistrées pour donner à une chanson la couleur propre au goût majoritaire du pays visé : c’est le fait d’introduire dans un groupe ethnique une musique étrangère mais avec la sonorité du groupe ethnique. Comme par exemple, un remix techno du Beau Danube Bleu de Richard Strauss va permettre au groupe ethnique techno d’entendre le Beau Danube Bleu avec leur son techno. Ou de la soul music remixé au son asiatique. Le dessein du remix est une recherche de profit : une invasion des cultures par l'industrie musicale.
La re:composition n’est pas un remix car elle n’a pas l’ambition de prendre l’apparence d’une « chapelle » ou d’un groupe ethnique. La re:composition prend les mêmes ingrédients que la musique à re:composer mais les agence de façons différentes pour donner une musique unique. Parfois l’ingrédient peut se reconnaître, parfois pas. Mais là n’est pas le propos. Le propos est la création d’une musique originale avec une musique existante. (Mathius Shadow-Sky, 2003)



Recompositions by Schoenberg, Stravinsky, and Webern

by Joseph N. Straus

Many twentieth-century works absorb and modify compositions from earlier periods. The resulting "recompositions" are often works of surprising originality. They paradoxically reflect the characteristic elements of twentieth-century musical structure even as they appear most immersed in the past. The most interesting recompositions involve the imposition of a new, idiomatically post-tonal musical structure onto an intact tonal model. In pieces such as Stravinsky's Pulcinella, Schoenberg's Concerto for String Quartet and Orchestra, and Webern's orchestration of the Ricercare from Bach's The Musical Offering, composers create new works by recomposing older ones.

Recomposition is a genre with a long history. In the fifteenth century, the Renaissance concept of irnitatio found musical expression in various kinds of pieces: arrangements of songs for instruments, the adding of voices to a preexistent piece, the revision of an earlier work, and the structural modeling of one piece upon another [1]. In the later Renaissance, this concept gave rise to the widespread use of parody, most obviously in Masses based upon preexistent polyphonic compositions [2]. More recent examples include, among many others, Bach's arrangements of Vivaldi, Liszt's settings of Beethoven, and Mahler's orchestrations of Schumann's Symphonies [3]. The desire to recompose the works of one's predecessors seems to be almost as old as Western music itself.

[1] Howard M. Brown, "Emulation, Competition, and Homage: Imitation and Theories of Imitation in the Renaissance," Journal of the American Musicological Society (JAMS), XXXV/1 (1982), 1-48.
[2] For a discussion of the evolution of the term "parody" and the range of its application, see Lewis Lockwood, "On 'Parody' as Term and Concept in 16th-century Music," in Aspects of Medieval and Renaissance Music: A Birthday Offering to Gustave Reese, cd. Jan LaRue (New York, 1966), PI, 560-75.
[3] The Mahler works are the least well known of these. See Mosco Carney, "Sfahler's Re-scoring of the Schumann Symphonies:. in Major and Minor (New York, 1980).



le centre de la bombe contact: mathius shadow-sky



dOwnlOad for free in One click the re:cOmpOsed cOmpilated albums



the centre bombe collective projects page
the centre bombe front door
the centrebombe free netlabel
who is the mysterious myster shadow-sky?
le livre de mathius shadow-sky