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Collaboration: John Addison

The Australian cellist, John Addison, was born in Brisbane in 1966 and began his musical education as a chorister in the St John's Cathedral Choir. He commenced studying the flute at the age of 10 and won the Queensland Flute Eisteddfod, senior division, in 1983. It was a chance encounter with cellist Imogen Rex, while experimenting with a friends cello that lead him to begin his cello studies.After finishing secondary education he was awarded a GAP scholarship, a scheme for young people to travel to England and take some time before further education, and eventually in 1986 he began to take the cello seriously. Enrolling at the Tasmanian Conservatorium of Music under the tutelage of Christian Wojtowicz he graduated with honours in 1990. After further studies with Sue Ellen Paulsen and being awarded grants from Arts Tasmania and the Queen Elizabeth Silver Jubilee Award he moved to the Netherlands where he has resided ever since.For several years he performed with the Netherlands Chamber Orchestra and Belgium based I Fiamminghi before deciding to concentrate on the performance of 20th and 21st century music. He is a widely sought after chamber musician who has performed with contemporary music ensembles such as the Nieuw Ensemble, Insomnio and the Volharding, and is a member of the chamber music groups Telesto Trio and Palmos.In 1998 he founded the Zephyr Kwartet, an Amsterdam based quartet for the performance of contemporary music. After 8 years he has recently retired from the quartet to commence working with his colleague Tiziana Pintus, with the Camenae Collective.He has performed extensively throughout the Netherlands and Europe, United Kingdom, Belgium, France, Germany, Portugal, Czech Republic, Italy, Albania and Greece and further afield in Indonesia, Thailand and Japan.His interest in contemporary music encompasses all genres and he is committed in developing relationships with composers, working closely with them to achieve the best possible interpretation of their works.



#1. Double:

Counterpoint of two lines growing to extended polyphony by means of multiphonics.

#2. Numbers

Going back and forward in small regions of the string allows the performer to capture subtle upper harmonics in the form of patterns.

#3. String design

A complete continuous gliss in the 3rd string with occasional dialogues with the adjacent I and IV. The architecture of the string has the shape of a mirror, so does the piece.

#4. Extreme string

A music a little too low to be heard. 4th string scordatura one octave below.


scores, harmonic charts and videos with the techniques coming soon! If you are interested in knowing more about this work, please contact me.

“In between cracks

the are lots of sounds

able to be perceived with magnifying glasses

but others, can only be heard 

with the lens of our own emotions.

I want you to lend me

your ears

to make my music.”

Música invisible para cello - Libro V (2008) /

Invisible music for cello - Book V


The idea of "Música invisible para cello" is to re-think the instrument from a different perspective, slightly away from its tradition and its literature. The organology - technical aspects of how instruments produce sound - and the exploration of different acoustical possibilities are the raw material from which the piece is built.

Extended techniques refer to new skills and a work in the boundaries of the tradition of the instrument, but mainly they aim at suggesting different perspectives to the perception.