Wednesday, November 4, 2015

Resuming the blog...

Dear Friends and Family,

I'm inspired to write on this perfect "in between" day:
in between the special concert in San Diego last night and a late night rehearsal tomorrow in Los Angeles for the next concert, I had a lovely, liesurely train ride this morning on Amtrak's "Pacific Surfliner".  Look look!! Spectacular sights through my window!

Sunday, February 17, 2013

Albuquerque, NM!

Flute practice in the morning, hiking in the foothills of the Sandia Mountains in the afternoon....(and a couple of masterclasses in between....) Sunny greetings from the high desert!

Wednesday, October 3, 2012

New Repertoire for Solo Flute

-       AGITATION/MEDITATION: West meets East

Camilla Hoitenga, Flute

KOBAYASHI Ken-Ichiro            Taku (from: Tentatio 1 & 2) (1973) 4'
(*1930, J)                                   (Japan Federation of Composers)    
--a "classic" in the genre: virtuoso modern Western flute meets ancient shakuhachi

Michèle RUSCONI      On a Whim (en pedo en la Patagonia) (2012)* (WP) 4’
 (*1960,CH)              Flute, bass flute, piccolo    (ms.)     
 --brand new piece, the second in a series oh "Whims". The composer writes:
"on a whim for flute is part of a series of short pieces for solo instruments which I started composing at the beginning of 2012.
So far there exist whims for violin, viola, harp, flute, percussion and oboe. Tuba will be next.
The pieces are all called the same, they all last 4 minutes and they are all very rhythmic, fast, virtuoso and rather difficult to play.
All use extended techniques.
In a concert situation I can place them like modules; they always fit.

The short musical statement very much appeals to me. It allows me to
care less about the overall form and concentrate more on short and clearly defined dense gestures.
Since there is no time for gradual approaches, there can be only little development; most changes are abrupt and unexpected.
Not having time to linger, one has to come to the point immediately and then move right on to the next one.
Little things must be intense in order to be noticed; I like that." M.R.


KUWABARA Yu                   Ohyarai Variations (2009)* 6’

            (*1982, J)                                      (ms.)
 The idea of this piece comes from “Sho-ga”: this is the notation for Noh-kan used in the “Noh” Japanese traditional theatrical art. This notation is totally different from the score we use in European classical music. These are written by connections with Japanese letters “Katakana” . This is an example, “OHYARAI HIHYOIURI•”.

In the normal classical scores the effects usually are written as the tones but “Sho-ga” has only methods. Tones which we have to play are unclear. In “Sho-ga” each of the letters has different fingerings. I’m very interested in the connections with the letters like incantations and what the tones are came out through the languages or the letters. So I collected many images of each letter and these are bases of this piece. Y.K.

FUJITA Masanori     Shininome no kasemeru toki ni (1991) * 6'
(1946- 2009, J)         Ryuteki, arr . for piccolo (ms.)
--the mood of late sun shining through lattice-work in the window….
Erik JANSON                    Daigi....Satori (2012)* (UA) 10’             
(1967, D)                                            Alto flute (ms.)
--using the wide range of colors on the alto flute to express the contrasting Zen concepts of "darkness of the soul" vs. "enlightenment"....                                                                                                                                                                              

Pause –

Arne SANDERS                  Solfeggio (2012) 0.5’(!)
            (1975, D)                                       
 --extremely short, extremely fast, extremely quick dynamic changes

TAKEMITSU Toru               Itinerant (1989)                                                         7’
(1930-1996. J)                             (Schott Japan)
--in memory of the architect I. Noguchi, melancholy in tradition of Debussy
Pèter KOESZEGHY             Utopie XIII—Eisblüten (2008)*                             6’
            (1971, HUN/D)                              (Verlag Juliane Klein)      
 --intense yet fragile soundscape for piccolo

INAMORI Yasutaki                    Mumbling Flute (2012)*                                 8’
            (1978, J/D)                                      (ms.)                                              
--the attempt to speak in foreign languages ;)   


*written for Camilla Hoitenga

Monday, April 23, 2012

April photos

Concerto "Soie" by Lotta Wennäkoski, with Tampere Philharmonic conducted by Sasha Mäkilä

Tuesday, April 3, 2012

London Master Class 2

Here are a few of the Trinity College Flutists and Friends...well-deserved libations after the intensive course! Great work, everyone!

Tuesday, March 20, 2012

London Master Class

Saturday, 31 March 2012 10am-2pm at the flute shop
All Flutes Plus.

£35 performer, £20 audience

Photo: Jean-Louis Fernandez

Back by popular request after her courses at Flute School London, international soloist Camilla Hoitenga returns for a workshop and master class on Saturday, 31 March 2012 10am-2pm at one of our favourite flute shops,

All Flutes Plus.

Performance Practice in the 20th/21st Centuries or "How to make old pieces sound brand new, and how to make brand new pieces sound convincing!"

A look at flute repertoire from Debussy to Saariaho, and from Varèse to Stockhausen and beyond....All pieces welcome. Performers are encouraged to bring not only repertoire they know but also a piece or two that is "brand new". Along the way we'll discuss techniques for deciphering scores, for using the breath in interpretation and for "dividing and conquering".

The globe-trotting flutist, known in particular for her recordings of the flute music of Finnish composer Kaija Saariaho, has been on the front cover of all international Flute Magazines, and has premiered many flute concertos throughout the world, including Sariaaho's Flute Concerto with the Royal Philharmonic in the UK.

"charismatic and exciting playing…all flautists should hear Hoitenga play." (Pan magazine)

"Camilla's teaching is warm and friendly, but focussed and to the point." (A.M., student)

"I found Camilla very “user-friendly”, wonderful teacher." (K.S, student)

"Inspiring! She really helped me to develop my my own ideas as well as to clarify the composer's intention." (S.G., student)



Tuesday, February 28, 2012

March in New York

March 12, 7:30 pm at The TANK, 151 w. 46th st, NY, NY 10036

Ear Heart Music presents
More Music from the Other Side
--New York Premieres and European Classics for Solo Flute

Link to venue HERE.

I'm really excited about this concert--an intense mix of pieces by some of my favorite composers: Peter Eötvös, Miyuki Ito, Pèter Koeszeghy, Georg Kroell, Kaija Saariaho, and Mike Svoboda.