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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
Photo: Jean-Louis Fernandez
to meet the composer for her final comments). 
Paris 
Program:
