Hendiduras Friccionantes, in english meaning: Frictional or Scratching Crevices, is inspired by a recurrent phenomenon found in forests, called “Crown Shyness”.
This is observed in some tree species, in which the crowns of fully stocked trees do not touch each other, forming channel-like gaps. The phenomenon is most prevalent among trees of the same species, but also occurs between trees of different species. Underground communication plays a big role in this phenomenon, which is also of big importance in the creation of the piece.
The composition mainly plays with the abstract interaction between the trees, which happens at an underground level. How communication between the trees unfolds is a complex, abstruse system. The tittle of the piece is therefore, some kind of irony. We witness concrete gaps that are a consequence of some kind of unseen and unexplained connection.
There are two main gestures that originate in specific instruments or duos, and that are then taken by a new instrument. While this “taking over” happens, the material changes, adapting to the new instrument and its possibilities.
Tamara Miller initiates her composition studies at the Universidad de Chile with Jorge Pepi-Alos, Miguel Letelier and Rafael Diaz. She is currently based in Germany where she completed her Master’s degree in composition at the Hochschule für Musik Carl Maria von Weber Dresden with Manos Tsangaris, Franz Martin Olbrisch and Mark Andre, and where she is now studying a new Master’s degree in electronic music at the Hochschule für Musik und Tanz Köln with Michael Beil.
Tamara dedicates her work to the creation of contemporary instrumental music of diverse conformations, as well as to the search for more experimental and interdisciplinary formats through the inclusion of scenic elements such as the use of the body and space, or light design, to mention a few. This search has led her to focus on collaborative and interdisciplinary work, giving rise in the first instance to the Acantun Kollektiv in 2019, established in Dresden, with whom she develops concert programs in collaboration with ensembles such as El Perro Andaluz and Sinfonietta Dresden. In 2020 she founded together with other South American artists the interdisciplinary collective LAR∀S, which focuses on Latin American socio-political issues, migration and feminism.
Parallel to the work with these groups and the commissions she receives, she also tries to develop personal projects such as the performance #queseacabechile, premiered in 2021.
In the last few years she has been gradually including electronics in her work, opening her palette of possibilities in her collaborative and personal creations.
She received the first prize in the project “Composers in Region – Fantasie Musik” of the Elbland Philharmonie Sachsen, and in “Premio OSSCA” of the Orchestra Sinfonica di Salerno Claudio Abbado. She was also awarded the third place at the “Orquesta Marga Marga” composition competition.
Tamara has participated in various festivals including the Festival Musica in Strasbourg, the IMPULS Festival for New Music Saxony-Anhalt 2019, the Transformation Festival Copenhagen 2017, the Transformation Festival New York, the V Berlin Soup International Festival of the Arts, the IIo Ciclo de Música Chilena Contemporánea SCD, II Festival Azul, and the XVIII Festival International de Música Contemporánea. In addition, she has had the pleasure of working with ensembles such as Musikfabrik, Ensemble Linea, Tempus Konnex, Ensemble Intercolor, Duo Sereno, Orquesta de Cámara de Valdivia, the Elbland Philharmonie Sachsen, Cuarteto de Percusión Valparaíso, amongst others.