Wilbert Bulsink (1983) writes music for all kind of combinations and situations. He composes concert music and writes for music theatre.  As a performer he is active as a classical piano player, in bands as fSTARand, PumpOrgan and Rosa Ensemble he plays synthesizer and hammond organ. 
As a composer he received commissions from most renown music ensembles in the Netherlands: ASKO|Schönberg, Nieuw Ensemble, Looptail, Rosa Ensemble and the Nederlands Blazers Ensemble. His works were performed during Gaudeamus Muziekweek, November Music, Holland Festival, the ISCM World Music Days in Ljubljana and the Huddersfield Contemporary Music Festival. 
He studied composition at the Conservatory of Amsterdam with Theo Loevendie and Wim Hendrickx. He finished his studies cum laude. In 2005 he was awarded the Jan van Vlijmenprijs and in 2009 and 2010 his compositions were selected for the BUMA Toonzetters Award. In 2015 he was composer in focus at the November Music Festival in Den Bosch where Quatuor Diotima premiered his first string quartet. In 2023 his composition Smashing Mirrors was recommended for broadcast by the 69th International Rostrum of Composers.
As composer and performer Wilbert is involved in different initiatives and networks for innovative performance practice. He is a member of Monoták, an Amsterdam-based collective of composers and improvisors which organizes concerts and events with challenging combinations and themes. He is part of Splendor Amsterdam, a group of musicians who turned an old bath house into a centre for experimental and classical chamber music. 

Wilbert is Professor of Composition at the ArtEZ Conservatory in Zwolle.

Brief list of works

Fernorchester for ensemble, 2023
Smashing Mirrors for ensemble, 2023
Possibilities Incomplete (Modules for Modelo62) for ensemble, 2021
Tijdlijnmuziek (Amsterdam 1621-2021), for trio, 2021
De Thuisreiziger, music theatre in your house during a lockdown, 2021 
Struikelgevaar, for barrel organ and ensemble, 2019
Spelingen: for harp and ensemble, 2019
Oorspel, music for audience that closes and opens their ears, 3 musicians and overheadprojector, 2019
Spelingen: for harp and orchestra, 2018
meanwhile, behind, between, etcetera: for ensemble, 2016
Baganachram: for flute violin, harpsichord and violoncello, 2016
Groeven: for piano, 2016
String Quartet, 2015
voordat...: for harp, 2013
Dust Storm (as seen from inside an office building): for ensemble, 2012
Book for Strings and Slides: for string quintet and 2 trombones, 2011
Vision and Labyrinth: for cello solo, 2010
Koranfragment: for orchestra 2009
Op/Weg...geblazen: for air piano and ensemble, 2008
Juggling/Jong leren: for percussion, 2008
Invention on Chaos: for piano, 2006

Madcap are: Richard Hermes & Felix van de Vorst

Bart de Vrees (1974)
Studied composition and classical percussion at the conservatory of Amsterdam.
Wrote for ensembles and festival such as: Schoenberg ensemble, Nederlands Blazers Ensemble, Slagwerk den Haag, Nieuw Ensemble, Asko Ensemble, Collegium Novum Zurich, Worldbrass, Utrecht String quartet, Modelo62, Aurelia saxophone quartet, Soil Ensemble, Adapter Ensemble, Insomnio, Ensemble Cameleon, De IJ-salon, Insomnio Ensemble, Yo! opera, Musiscoop, Holland Festival, Gaudeamusweek and November Music.

Awesome Tapes From Africa is here for you.

	The other day, i was going through all the music that i recorded over the last 10 years, and realized that most of it is leading a pretty anonymous life in the backstreets of my hard-disc. Perhaps naturally more inclined to dwell in a hermit-like music-bubble, i still decided to join the rest of humanity in its virtual venting, and occasionally spill some of my handy-work on the web. Reasons for recording all this may vary from coming up with material for bands to play, to finishing commission-deadlines when desperately in need of some money, and from collaborating with stubborn theater-makers, to just being bored, drunk, or simply inspired to make a small difference. Unable to ever really specialize genre-wise, there seems to be something consistent in my 'oeuvre', no matter how hard i try to re-invent myself. To get a bit auto-analytical: I like my melodies whistlable, my harmonies ambiguous, my rhythms unfit to dance to, and my general mood slightly infused with the notion we have to die one day. And i like things kept simple. Although the more i try to follow a straight road to whatever goal, the more i seem to get lost in all kinds of unneccesary detours...

roomtone is following