What if you play hymns in a Salvation Army Band from the moment that you can hold an instrument – and never put it down again?

What if you don’t study tuba – but become a professional tuba player anyway?

What if you want to build your repertoire – but only with music that has never been heard before?

What if you are a composer, improviser, electronic music artist – and want to pack all of that into the tuba?

What if you were part of the British experimental music scene – and want to keep working that way on the continent?

What if you are passionate about indeterminacy  – but the world is constantly counting on a predictable outcome?

What if you are an ardent mediator between new music and new listeners?

What if your English sense of humor is looking for an outlet in Germany?

What if the music grooves you to dance – whether others hear it or not?

What if your instrument is not even called a tuba – but rather an E flat bass?

And what if one bell is not enough?

Well?

With so many unique characteristics, you obviously become a member of Ensemble Musikfabrik – and then start pushing the ensemble towards the future.

For nearly 30 years, the ensemble has profited from Melvyn Poore’s unique input, amazing low tones, ethereal high frequencies, and mysteriously unidentifiable sounds. His provoking thoughts and ideas often went against the group’s collective reasoning, like using the computer for administrative work and music production, among many other concepts. (At the time Melvyn joined Musikfabrik, the ensemble preferred fax machines and only owned one PC) His leadership in working on group dynamics and ensemble building, his efforts in introducing the British experimental school, Cage, and many other lesser-known but influential composers to our body of work – as well as his gifts as an improviser, educator, and simply wonderful guy – have added many qualities to the ensemble that are unique and definitive.

His contributions helped establish Ensemble Musikfabrik as one of the most respected, creative, and successful ensembles for contemporary music worldwide. We’d like to take the opportunity in this brochure marking the beginning of his final year as an active member to thank Melvyn Poore for everything that he has contributed to the ensemble. Let it be said loud and clear: For all that we have learned from our dear colleague about music and expression and life, none of us dance to the music like Melvyn.

Christine Chapman und Marco Blaauw