Anne La Berge’s career as flutist/improviser/composer stretches across international and stylistic boundaries.
Her 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.
Anne La Berge performs regularly with Robert van Heumen in their duo Shackle. She is a member of MAZE, an electroacoustic ensemble dedicated to performing music that challenges the idea of fixed form. She is an active artist in Splendor Amsterdam, a collective of 50 musicians, composers and stage artists who have transformed an old bathhouse in the center of Amsterdam into a cultural mecca.
She can be heard on the Largo, Artifact, Etcetera, Hat Art, Frog Peak, Einstein, X-OR, Unsounds, Canal Street, Rambo, esc.rec., Intackt and Data 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, La Berge and Williamson duo and MAZE.
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, Donemus and can be directly ordered by contacting her. 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
photo credit: Anja Conrad