Camilla Hoitenga & Taavi Kerikmäe
Feb. 17, 2018
Studio Z: 275 East Fourth Street, Suite 200, St. Paul
The international project POLES is an homage to Karlheinz Stockhausen and his composition POLES (1969-1970) for two players and multichannel sound diffusion. Camilla Hoitenga (USA/D) and Taavi Kerikmäe (EST) have created an historically informed version for flutes, the rare 1970s Serge modular synthesizer, and contemporary sound diffusion techniques. The performance will also include Scott Miller 's This Strange Fine Tuning of the Universe, ecosystemic work for Kyma, performers, and multichannel diffusion.
The performers of POLES:
Camilla Hoitenga (USA/D): flutes (piccolo, C, alto, and bass)
Taavi Kerikmäe (EST): SERGE modular synthesizer
Kyle Yotter (USA): sound diffusion
Edgar Languren (USA): sound diffusion
Scott L. Miller (USA): Kyma
Flutist Camilla Hoitenga’s concerts range from concertos in London, Paris, Helsinki or the Kremlin to interdisciplinary projects in Marseilles, Berlin or the Emirates to solo tours and residencies in Japan. She has performed under conductors such as Christoph Eschenbach, Jukka-Pekka Saraste, Alan Gilbert or Vladimir Jurowski. Composers such as Karlheinz Stockhausen and Kaija Saariaho have dedicated pieces to her, and her programs include both classical repertoire and world-premieres. Her recordings, in particular those with Kaija Saariaho, have won awards in France, Great Britain and in North America. Her own teachers were Darlene Dugan, Peter Lloyd, Alexander Murray and Marcel Moyse. Born in Michigan/USA, Camilla Hoitenga now lives in Cologne/Germany.
Accomplished pianist and Head of Center for Contemporary Music and Improvisation at the Estonian Academy of Music and Theater, Taavi Kerikmäe was awarded the prize of "multitalented recitalist and innovative interpreter" by the Estonian National Cultural Endowment in 2015. The following year the French Republic awarded him the title “Chevalier des Arts et des Letters”. Performing on piano, various keyboards, theremin, as well as with live electronics and custom made electronic instruments, Kerikmäe has been invited to international music festivals to work with such composers as Pierre Boulez, Tristan Murail, Vinko Globokar, Gilbert Amy, Ivan Fedele, F.-B. Mâche, and Alessandro Solbiatti. Having worked closely with Kaija Saariaho and Helena Tulve, he has premiered a number of pieces, including their pieces for his duo with the flutist Camilla Hoitenga. Born in Tartu, Estonia, Taavi Kerikmäe lives in Tallinn.
The international project POLES is an homage to Karlheinz Stockhausen and his composition Pole(s) (1969-1970) for two players and multichannel sound diffusion. Originally composed for and performed (over 1,000 times) at the Osako World Exposition (Expo ’70), POLES is an open score, music notated with a system invented by Stockhausen consisting of +’s and -’s instead of normal notes. This approach allows for various instrumental realizations of the score. Aiming for a historically informed performance Camilla Hoitenga (USA/D) and Taavi Kerikmäe (EST) have made a version for flutes with the rare 1970s Serge modular synthesizer once belonging to composer (and occasional copyist for K. Stockhausen) Michael Manion, combined in performance with current sound diffusion possibilities. Co-production and initial support for the POLES Project was provided by CMMAS, Morelia/Mexico and the Center for New Music and Improvisation at the Estonian Academy of Music and Theatre .
This Strange Fine-Tuning of Our Universe II was written for Camilla Hoitenga and Taavi Kerikmäe, for indefinite instrumentation and Kyma. The title comes from an interview I heard with a scientist commenting on how the standard model of cosmology is constructed of variables that seem fine-tuned to support our existence; if they were to deviate just a little bit-one way or the other-the physical universe as we know it wouldn't exist. And neither would we.
Ecosystemic compositions such as this create a sonic universe for us, but also depend on the physical behavior of sound in the performance space in order to exist at all, that is to say, sound as they do. The performance of This Strange Fine-Tuning of Our Universe II is subject to the variables of the performance space, which will mediate the performer's sonic input, and the composition's ultimate existence as sound will be determined by the sonic influence of the space on the musical decisions of the performers. Of course, it could all come crashing down and not make any sound at all.
“There’s no doubt that the amount of dark energy in the universe is the most exquisitely fine tuned number in the history of physics.” - Erik Ramberg, Fermilab
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