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VOLSAP FOUNDATION
Shackle
Splendor Amsterdam

Anne La Berge’s career as flutist/improviser/composer stretches across international and stylistic boundaries.

Her most recent performances bring together the elements on which her international reputation is based: a ferocious and far-reaching virtuosity, a penchant for improvising delicately spun microtonal textures and melodies, and her wholly unique array of powerfully percussive flute effects, all combined with electronic processing.

Many of her compositions involve her own participation, though she has produced works intended solely for other performers, usually involving guided improvisation and text. She also uses these compositions that work with a flexible combination of imposed musical situations and electronics where performer/improvisers are an integrated part of the music making process as material for workshops and masterclasses.

In addition to creating her own work she regularly performs in other artists’ projects in a range of settings from modern chamber music to improvised electronic music.

She can be heard on the Largo, Artifact, Etcetera, Hat Art, Frog Peak, Einstein, X-OR, Unsounds, Canal Street, Rambo, esc.rec., Intackt, Data, Unsounds and New World Records labels which include recordings as a soloist and with Ensemble Modern, United Noise Toys, Fonville/La Berge duo, Rasp/Hasp, Bievre/La Berge duo, Apricot My Lady, Big Zoom, the Corkestra and MAZE.

Her CD ‘speak’ was released in the summer of 2011 on New World Records and the duo Shackle released a designer memory stick with audio and video in August 2012.

La Berge is a precursor of some of the important things contemporary composition has now come to mean. The Wire

Her music is published by Frog Peak Music (US) and by Donemus (NL). She plays a Brannen Kingma System custom flute and a Kingma custom alto flute and creates most of her electro acoustic performances using Max and the Kyma. She is the co-director, with her husband David Dramm, of the VOLSAP Foundation that supports projects for composed and improvised music.

The miracle of her sound technique is supported by, among other things, different lip-positions, attacks, ways of breathing, distance from the microphone – everything has been foreseen and elaborated. . . Her textures are often two-voiced. It is all so complicated that it defies description and yet it sounds very natural, like a bird’s song.  Muusika, Tallin