TAKING POSITION’: In these times of political, social and economic changes, of reinforcement of boundaries and crisis, we believe the role of the artist in society is determinant. During the first half of 2017, the Ephémère series will focus on the theme ‘Taking Position’, inviting artists from all backgrounds to present works that relate to this topic.
Disciplines: – Music – Performance – Video – Dance – Installation
Dates of the Ephémère evenings for the first half of 2017:
– February 9th – March 9th – April 13th – May 11th – June 8th
You can send proposals to email@example.com with the subject ‘Taking Position’ and including the following content:
– Title and duration of the performance/presentation – English description of the performance/presentation and English biographies – List of technical requirements
Looking forward and HAPPY 2017!!!!!! The Ephémère team
Have you been feeling a little disconnected? Trying too hard to complete too many tasks with too many bodies in too many places all at once? Is your mind constantly hitting walls working on physical problems you can’t solve in the here and now simply because your present body is somewhere else? Do you ever wonder where you really are whilst your mind is occupied with your requisite daily flight through the tubes and tunnels of the information superhighway?
The FutureMoves™ routine is guaranteed to tone and refine your adaptability to the rapidly changing requirements of earthly existence.
Sarah Albu is a Canadian experimental vocalist, composer and performance-maker currently based in the Netherlands. Her background in theater and obsession with science fiction (dating from childhood) feed darkly comedic imagined worlds. She has been an invited artist at the Banff Centre for the Arts and international series and festivals across Canada, Europe, the US and Mexico. Equally active as a free improviser, new music soloist, and chorister, she is comfortable lending her voice to settings ranging from early Franco-Flemish polyphony to noise and psychedelic rock. Her first solo album was released independently in 2013. An avid knitter, environmentalist and folk dancer, her recent work explores the effects of rapidly developing technology on our bodies and lives through a mix of curiosity and nostalgia.
The triangle : Dakar – Amsterdam – Chicago
On drums will be Frank Rosaly. Rosaly has been involved in the improvised and experimental music community since 2001 where he has become an integral part of Chicago’s musical fabric, navigating a fine line between the vibrant improvised music, experimental, rock and jazz communities. Listening to Rosaly is an active engagement: “I see my musical journey as process. My endeavors are meant to display, document and communicate that process. I play music to ask questions, and within this subjective art form, queries are not meant to be answered, but are meant to qualify new questions.”
Like Rosaly, singer and percussionist Mola Sylla is in many ways a musical explorer. Born and raised in Dakar, Senegal. He grew up in the tradition of the griots. Griots play conveying stories – sometimes decorated with music, theater and dance – an important role in the culture in West Africa. His rhythm and melodic compositions differ from the western agreed schedules and provide surprising twists.
Hoogland you might know since he has performed at Loos before with o.a. the Royal Improviser Orchestra and EKE. He is a master on his electric clavichord and a key figure in the Amsterdam improv scene. A triangle of 3 cities 3 musics 3 people ‘taking position’. [Dakar – Amsterdam – Chicago a triangle of in total 18534 km]
The performance will explore the difference between public and private spaces and the boundaries that they impose. A combination of soundscapes from disparate times and places will be used to create an interconnected mesh of parallel narratives. Uncovering dream worlds where time and space collapse on themselves, playing with the threshold where things become perceivably separate, alien and outside oneself. The material will be transformed to find points of intersection whilst focusing on individual interpretation and freedom of expression rather than perpetuating cultural hegemony.
Dan Gibson is an English musician and sound artist. In 2011 he studied a Ba (Hons) Degree in Creative Music Technology at University Centre Doncaster and has recently completed a Masters at STEIM and the Institute of Sonology in the Netherlands. He also plays and records under the pseudonym noisesinthenight, the name chosen to evoke the acousmatic qualities of listening at night in which the sound sources are unknown and a sense of quietude exposes previously unheard sonic activity. The music works through electronic decoupling of sound from its source, manipulating the associative qualities of sound and intertwining traces of disparate events. Gibson’s work incorporates experimentation and improvisation and aims to explore the sonic subtlety, textural nuance and dynamic intensity found in the natural soundscape through the embodied practice of playing and building investigative hardware and software instruments.
TAKING POSITIONS #1
Taking position #2
Dutch soundpoet Jaap Blonk is a must-be-experienced phenomenon, one of the very few people who realize the potential of sound poetry as a crazy thing that spans all the evocative power of language, music, physical performance, and some other ineffable stuff we don’t want to mention, all at once.
“Vibrant Islands” is a cycle of 9 pieces for acoustic vocal performance. Each movements consists of a number of “islands” containing phonetic signs, many of which were invented by myself.
For many years Jaap Blonk has been working on his personal extension of the International Phonetic Alphabet: BLIPAX (BLonks IPA eXtended). In the performance the islands can be visited in any order, and repeatedly as well. In every score of the cycle the coastal lines have a different form, or instance angular, crenelated, straight or rounded, according to the prevalent sound character of the movement.
Nora Mulder is trained as a classical pianist in Rotterdam and Paris and now performing contemporary composed & improvised music on piano & cymbalom. She performs solo, with her own groups 7090 and Trolleybus and with various ensembles for contemporary music throughout Europe. Apart from playing “concert music” whether composed or improvised, on piano or cymbalom, Nora surges for all possibilities of performance: a musician is not just heard, also to be seen. Therefor she is also to be seen in theatre and dance performances and works frequently with visual artists, dancers, actors, poets and chefs.
Rogier Smal is a drummer who experiments with free percussion sounds. Besides playing in art collective Dagora he plays with different musicians and solo. Lately Rogier has been lucky enough to have been making sonic waves of liberty with gems like: Jaap Blonk, Marshall Allen, Dylan Carlson, Eugene Chadbourne, Geoff Leigh, Ludo Mich, Sunburned hand of the man, Mik Quantius, Daevid Allen, Morihide Sawada and many more.
Nora & Roro – Free improvisation
Nora Mulder & Rogier Smal is Internationally operating Piano and Drums Duo from Amsterdam.
Searching the bounderies in improvised music and humour.
Darien Brito - Audio visual performance
Composer, electronic music producer & audiovisual explorer, Darien began his violin studies in the Franz Liszt Conservatory of Music and graduated in 2010, awarded by the institution with the “Franz Liszt prize for academic excellence” and later with the “Cultural Scholarship” by the Ecuadorian Ministry of Culture. He has played in numerous recitals with ensembles and as a soloist and has obtained national violin prizes. As a composer he has written works for many different ensembles, from solo pieces to chamber music, electronic music and orchestral works, and has premiered around the world.
Taking position #3
Larysa Bauge - ROOTs 2 - Performance/personal investigation into the state of vulnerability and it's transpersonal symbolism
Henry Vega - Live electronics
Taking position #4
Hitz & Simonis have a long history of collaborations (not only musical), in this project they concentrate on poetic texts in the dutch language, surrounded by an improvised sound landscape. They use guitar, arp odessey, cello and voice to obtain this aim.
Nina Hitz, grew up in Switzerland and lives in the Netherlands today. She studied at the Royal Conservatory of The Hague baroque cello. In addition to baroque music, she is also active in experimental music, improvisation and music theater. She plays in Wonderland of Makiko Ito and makes pieces with poet Chantal van Heeswijk.
Further activities in music / theater / dance area; Kilimanjaro DoomJazz Ensemble, Liana Flu Winks, Zoikle (with GW Sok), Freies Musiktheater Zurich with Wilhelm Tell; The Orkater productions La Voix Humaine and How Mozart Casanova beat, the theater productions God's Opinion and The Pelican of Olivier Provily, Paramount, Heartland of the Scapino Ballet Rotterdam. Nina has its own group “Sounds", a quintet of historical instruments and plays regular improv concerts with different people in Rotterdam and Amsterdam.
Lukas Simonis (1961) is one of the founders of WORM, Rotterdam (see;worm.org). He organises and produces radio, concerts, cd's, performing projects and writing, sometimes as KLANGENDUM, a new foundation that promotes soundart and radio-art, sometimes still under the WORM-umbrella, sometimes in cooperation with others (oa. The Radia Network, Poetry International, Soundtrackcity, Vrooom, etc.)
He started out as a 'unconventional' rock musician, playing in bands like Trespassers W and Dull Schicksal. The last few years he turned more and more to electronic, improvised music and sound art, allthough he still has a weak spot for his version of rock, and he is playing with people like Candlesnuffer, Ergo Phizmiz, Pierre Bastien, GW Sok, Henk Bakker, Jim Whelton, Radboud Mens and the Bohman Brothers. Other groups and projects include Coolhaven (electro performance trash), Perfect Vacuum, Vril (songs), Static Tics (electronics) and Kruk (improv perfo).
Since the year 2000 Simonis got more involved in Soundart and Radio making, in different constellations, cooperating with Artists, Journalists and radiomakers. Other activities; curating anything that can be curated (music mostly), filmmusic, writing (ao. plays & radioplays), singing in the rain.
Yiannis Tsirikoglou (Gr) (electronics, objects) is an electronic music composer, performer, sound artist and developer currently living and working in The Hague, where he also completed his master degree at the Institute of Sonology. He is participating in several projects including Eventless Plot (Thessaloniki), Duel Protocol (The Hague), Parallels (Amsterdam) and collaborating with different musicians. Yiannis has released works on labels like Granny records, Aural Terrains, Another timbre,More Mars and performed live at numerous venues and festivals in the Netherlands, Greece, Lithuania, Germany and Italy. He has also composed music for dance performances , animation and film.
Reiner will perform with materials from Riemann Angel, an impending release on Bladud Flies. This work taps into a lifelong obsession with recording everyday objects, situations and moments. Recording and listening to things 'outside' is like delving into the imagination already contained in matter. Perception becomes a vice that constantly hallucinates realities.
Creating music from these recordings felt like divining things found crawling under rocks, whirling in shaded corners, traversing the atmosphere, propelling through the ether. The ears focused as if in a gaze - but an errant gaze, sleepwalking through the different layers of matter; a gaze disinterested in possibilities, complexity, openness or totality; an errant gaze, melancholic as well as pervasive, inviting contingency by ignoring it.
Reiner van Houdt is a musician/composer from Rotterdam (NL). He works from a fascination for matters that escape notation: sound, timing, space, physicality, memory, noise, environment - points beyond interpretation and improvisation. Besides making his own music he premiered music by Robert Ashley, Alvin Curran, Kaikhosru Shapurji Sorabji, Francisco López, Yannis Kyriakides, Maria de Alvear, Jerry Hunt, Michael Pisaro, Walter Marchetti. He has also worked with John Cage, Alvin Lucier, Luc Ferrari, Charlemagne Palestine and Christian Marclay. Reinier van Houdt plays in MAZE and Current 93.
TAKING POSITION @ STUDIO LOOS
The trio Kleefstra | Bakker | Kleefstra (KBK) combines improvised dark-ambient with spoken word and consists of the experimental guitarists Romke Kleefstra and Anne-Chris Bakker and poet Jan Kleefstra. After their debut album ‘Wink’ in 2009 the trio played through Europe and Japan. They worked together with musicians like Peter Broderick, Nils Frahm, Greg Haines and Machinefabriek.
KBK also made music to short experimental films of film- and video artists like Shinkan Tamaki from Japan and Sabine Bürger from Germany. In 2012 the album ‘Griis’ was published on Low Point form the UK. Late 2016, begin 2017 KBK released three albums in a row, including the ‘twin studio albums’ ‘Dage’ and ‘Dize’. The Kleefstra brothers are also playing in bands like Piiptsjilling and The Alvaret Ensemble, while Anne-Chris Bakker is also publishing solo-albums.
Expect dark, dreamy soundscapes that tend to burst. Or like magazine The Wire wrote abou the trio: “Two guitarists construct an icy enclave out of frozen drones and amplifier crackle, a veritable Fortress Of Solitude whose isolation is further emphasized by the poet’s intimately close-miked tones and distant echoes, giving an acute impression of expanses and depths both internal and external.”
Trio #1 for dancer, violist and viola. A trio performance based on the relationships and interrelationships between two artists and a musical instrument. They explore touch, flow, intensity and friction. The two performers explore connections and differences in a shared improvisatory language where density and texture in physical movement meets density and texture in sound. They take a child-like approach to discovering and exploring their interaction in their shared space.
Ilse van Haastrecht is a dancer and movement teacher living in Den Haag. After graduation at Codarts/Rotterdam in 2009 she performed in pieces made by Piet Rogie, Billie Hanne, Sayaka Akitsu and Sylvia Bennett, among others. Ilse performs regularly in improvised pieces in Bimhuis, Oorsprong-series and OT301, Amsterdam. As a movement educator her passion goes to teaching dance improvisation. In CLOUD/DCR she organizes study labs in which she shares her knowledge of the Axis Syllabus lexicon. Ilse is a member of the team of CLOUD@Danslab.
Violist Emlyn Stam is active as a chamber musician, soloist, orchestral musician and performance researcher in the Netherlands and throughout Europe. Alongside his activities as a chamber musician Emlyn has developed a passion for contemporary music. Since 2013 he has been the artistic coordinator of the New European Ensemble an international ensemble for contemporary and 20th century music. Emlyn is active as a researcher and is currently studying for his PhD at the Docartes program at the Orpheus Institute in Gent and the Academy for Creative and Performing Arts at the University of Leiden. His research focuses on the performance practices of violists and chamber music groups in the early 20th and late 19th centuries.
Erik Nyström’s computer music performances situate enactive improvisation within a texture of algorithmic processes and synthetic morphological deviations. Categorical conceptions of species, homogeneity, heterogeneity, nature and artifice, are elasticated and repositioned in a posthuman morphogenesis.
Erik Nyström is a Swedish composer and performer whose output includes live computer music, electroacoustic works, and sound installations. Among recurring interests in his practice are spatial deformations, texture perception, entropic processes, and visual and physical listening. He is currently a Leverhulme Research Fellow at Birmingham Electro-Acoustic Sound Theatre, University of Birmingham, UK, working on an aesthetic and technological research project on multichannel spatial texture synthesis in composition and performance. He studied Computer Music at CCMIX, France, and Electroacoustic Composition at City University, London, with Denis Smalley. His music is performed world-wide, and has been published on the disc Morphogenèse by empreintes DIGITALes.
TAKING POSITION @ STUDIO LOOS
Taking position #6
Identity Shifts by Camille Verhaak & James Hewitt
Are we who we think we are? And does other people’s perception of us (or what we think their perception of us is) change what we are? Playing with masks, the performers become characters in a surreal and fantastical landscape, able to inhabit multiple identities, or to choose moments of transformation into new identities.
Camille Verhaak- clarinet, movement, voice
James Hewitt- violin, movement, voice
DaMu (short for Dance and Music) began with a workshop with Mary Oliver and Michael Schumacher on dance and music improvisation in 2011, but quickly developed its own individual approach, in which space and movement become part of the musical performance. The performers are just as likely to move, speak, sing, or play with objects as they are to play their instruments. Interacting in the moment with each other and with the environment, they merge sound, gesture, colour, and light, into an unpredictable, site-specific gesamtkunstwerk.
Object 1 & 2
Performed by Jhae Ko, Kay Patru
Objects by Hee-seung Choi
Following Jihae and Kay's research project on material and sound. This presentation is the result of their collaboration with visual artist Hee-seung Choi. It is an encounter between two sound objects and two moving bodies.
Jihae Ko (KOR/NL) is a choreographer, somatic movement teacher and certified bodywork therapist based in Amsterdam. Her work embodies a somatic and multidisciplinary approach to dance and movement research. In recent years her focus is in somatic movements through the sensory and the perceptual, as a way of investigating the co-creative relation between body and environment. She collaborates with various visual and sound artists in S.Korea and Europe. Her work has been supported by Seoul Dance Center (KR), Dansateliers(NL), Melkweg(NL), Generale Oost(NL), Kampnagel (DE) and Masdanza (SP).
Kay Patru (FR/ NL) is a dance and movement improvisation teacher, choreographer, certified bodywork therapist based in Amsterdam. His work focuses primarily on developing improvisation and somatic awareness tools designed to awaken the innate intelligence of the body. His work is deeply inspired by body oriented practices and self-inquiry methodology as tools for creativity and well being.
In this Ephemere performance series, Liew plans to diffuse sound by using no-input mixing and granular technique. She combines materials from field recording, feedback loop to traditional music from a few corner of the world. From there, she stretches, mingle and fast-forward those materials into a new form of composition that leaves its original.
Liew Niyomkarn is an artist who works with sound, sculpture and electronic circuit. Liew's work is known for its ecstatic and unpredictable events and surprise. Often expresses a sensory of flexibility and impermanence behavior of sound and objects. She has been experimenting with granular synthesis by generating sound from field recording technique to computer processing. Liew's work represent in a variety of music composition, the visual arts, installation and real-time performance. Recently, she has more interested in sound installation and sound sculpture that combine material realms and phenomena of the natural environment.
TAKING POSITION @ STUDIO LOOS
Taking position #7
“Points of Contact” is the title of a performance with two feedback loops; one inside a cage and one outside. In this work, the performer explores the boundaries formed by a cage around his
head, and forms acoustic feedback loops by creating points of contact between physical objects that are equipped with transducers and contact microphones. This work is a continuation of an ongoing research about the ways in which one can observe vibration as it passes through a field of objects.
Erfan Abdi (1983 – Tehran) is an artist, designer and performer based in The Hague since 2009. He graduated from the Masters program at the Artscience Interfaculty, Royal Conservatoire The Hague in 2011. Holding a Bachelor’s degree in graphic design from the University of Tehran (2006) he has a background in visual art and design, while he has also experimented with electronic music, video art, computer programming, physical computing and with constructing physical models for haptic controllers.
The work Foils sets up oppositions, contradictions and antipodes from field recording materials extracted in production places that are in constant activity. The interplay between the origins, the meanings and the movements of the sounds affects even the most static presence, contrasting rhythms, expression and spatial reproduction.
Donia Jourabchi studied sound engineering at the SAE Institute of Brussels and worked as a technician on different sound projects, live performances and studio recordings. She developed further her skills in interactive sound techniques, realtime processing and interface design at the CECN, Center for Contemporary Art and Digital Technologies in Belgium and followed a two year program in electroacoustic composition at ArtZoyd, Center of research in Contemporary Experimental Music. She moved to The Hague in 2011 where she followed a course program at the Institute of Sonology and a master research about the relationships of sound, body and space in the context of site specific interventions in abandoned places. Her works vary from providing workshops; interventions in public space; performance and installation; electroacoustic composition and improvisation; self-made instruments and radiophonic art.
For Ephemere series, Miša will prepare a set comprising of new audio-video collages. As a sonic event, through its methodological constitution, it is going to be an exploration of the efficacy of voice, probing the depth of a sonic space. As an audio-visual whole, it will be an attempt to provide a voice to a foreign narrative, drawing onto a flat surface, consolidated by our gaze and its projected anticipation.
Miša Skalskis is an electronic musician and artist, a graduate of Sonology institute, dwelling between Lithuania and the Netherlands. His sound work draws heavily from the visual and cinematic traditions of montage and collage, reimagining them in the light of algorithmic composition and ubiquitous information.
Taking position #8
This Ephémère is inspired by the catalog and friends of Granny Records, a record label founded in Thessaloniki, Greece publishing works by contemporary electronic musicians. Granny also supports acts of innovative artists by organizing events and concerts in the city of Thessaloniki.
'Vicinity pulse' is an interactive electroacoustic composition that concerns scope, influence and fluidity of sonic events. It represents in some sense a simplification. Processes that focus on pulsations, clear events and straight synthetic pitches. It brings forward a certain view of mutual influence. How to engage with a running process, but also to let it evolve and be open to its influences? It always takes a certain time to perceive important characteristics of a sound process. These boundaries and the ways of interacting with a changing development is an important element of the piece. 'Vicinity pulse' is composed in 2017 for a 4-channel environment.
Bjarni Gunnarsson is an Icelandic Composer / Sound artist based in The Hague. Has released numerous LP´s, EP´s, compilation tracks and reworks on labels like Vertical Form, Thule, Uni:form, Spezial Material, Trachanik, Lamadameaveclechien, Shipwrec and 3LEAVES. Collections of his solo works can be found on the CD “Safn 2006-2009”, released by the Belgium label LMALC in 2010, Processes & Potentials released by 3LEAVES in 2013 and Paths released by Granny records in 2016. listen / listen
Peckinpah Trios (2004) by Antoine Beuger
Original and murmuring version.
Martijn Tellinga - voice and sine waves
Koen Nutters - voice and double bass
Seamus Cater - voice and concertina
The DNK Ensemble is a flexible group of artists centred around the (former) concert series for avant-garde, "down town", music, sound art, and performance, DNK-Amsterdam. Organized by Seamus Cater, Koen Nutters and Martijn Tellinga, it currently lives on as the record shop Nearly Not There Records and will soon be revived from it's slumber.
Instruments / Electronics / Field Recordings / Fire / Smoke / Voice / Speech / Text / Movement / Space / Momentum
In Ephémère Eventless plot will present two electroacoustic semi- compositions based on a variety of material. By manipulating field recordings ,analog sources, electronics and other instruments the trio is trying to amplify similarities and oppositions occurring from the multidimensionality of sound.
Eventless Plot borrows elements from different genres and aesthetics to build their own hybrid of sound. Formed in Thessaloniki in 2002 by Vasilis Liolios, Aris Giatas and Yiannis Tsirikoglou, the trio exhibits great attention to sonic details expressed in different forms of experimentalism. From free impro and noise to new electronica, electroacoustic composition and jazz, their music remains always unconventional and contemporary. They use a variety of instruments, analog sources, field recordings and Max/MSP patches. Eventless plot often collaborate with Chris Cundy (bass clarinet), Angelica Vasquez Salvi (harp) and Stefanos Lazaristos (bass saxophone). Eventless plot have several releases in their archive including “ikon” (Granny records 2009), “Recon” (Aural terrains 2012), “Points of attraction” (Another timbre 2013), “Structures” (Creative sources 2014) and “Killing Realism” (Granny records 2015).
Moreover, the trio has performed live in different cities such as Bologne, Milan (O gallery), Thessaloniki, Porto (Sonoscopia), Coimbra (Salao Brazil), Skopje (Swiss music days festival), Athens (Synch festival). Eventless Plot are also working on designing sound and composing for art installations, films and dance projects. In November 2008, they joined Thessalonikiʼs International Film Festival along with Granny records label mates Good Luck Mr. Gorsky by composing and introducing a soundtrack for Victor Sjostrom' s “Phantom Carriage”. In 2009, they composed music for the short film“Ceremony 273.749” which won the first prize in ArtWave Athens Festival, while in 2015, they presented the “Time | Tone” project, an electroacoustic composition based on graphic score along with the dancers Dafni Stefanou, Loukiani Papadaki, Eddie Lame and Mina Ananiadou.
Taking position #8
Violent Push of an Unpredictable Strategy
For Ephémère we will present an extended version of this work, with a more improvisatory approach to form. Notes on the original version from Genevieve: “I started to learn bagpipes from the age of 8 and from this early age I was informed by my tutor that bagpipers would go into battle, to play alongside their army and to intimidate the opposition. The awareness of this has always stayed with me and has now become the inspiration behind the structure of this work. I imagine the bagpiper in slow motion, striking in the drones and beginning to play a piece that encourages his army but tries to push away the opposition. At the same time I think of the army who have encouraged this brave musician and that though everyone has their strategies they are still in an unpredictable situation. This piece is mainly based upon improvisation where the bagpipes encourage the ensemble to follow its tonalities and challenging dynamics. The group however, have their own strategies between them that work and harmonise outside of the bagpiper’s sound.”
The Edge Ensemble challenges the boundaries between notated and improvised music. Featuring singular performers from diverse musical worlds — contemporary, free jazz, rock, early music — they explore the new sonic territory where these traditions meet. Although the stylistic backgrounds of the performers may seem far apart, they are all rooted in performance traditions that have enough in common to allow for fascinating, unexpected points of confluence. The Edge Ensemble reflects and explores this situation with intensity, freedom, and precision.
Christof May (DE) – bass clarinet
James Hewitt (UK) – baroque violin
Vasilis Stefanopoulos (GR) – bass
Brendan Faegre (US) – drums, director
Utter for flute, electronics and iPads in collaboration with Isabelle Vigier, Marcel Wiercks
Utter maps out the emotional and linguistic complexities of mother/child communication. The intimate, innovative setting features Anne La Berge together with 6 iPads that create a two-way guiding system where performer and media discover each other, exploring Utter’s rich sonic and visual fabric. Low North
This project was funded by the Creative Industries Funds NL and the Performing Arts Fund NL. Anne La Berge's passion for the extremes in both composed and improvised music has led her to the fringes of storytelling and sound art as her sources of musical inspiration. Her performances bring together the elements on which her reputation is based: a ferocious and far-reaching virtuosity, a penchant for microtonal textures and melodies, and her unique array of percussive flute effects, all combined with interactive electronic processing and text.
She performs regularly as soloist, with the ensemble MAZE and in the duo Shackle. She is a founding artist of Splendor Amsterdam, a collective of musicians, who have transformed an old bathhouse in Amsterdam into a cultural mecca, where she regularly produces and shares small scale concerts with international guests. In 1999, together Steve Heather and Cor Fuhler, she founded Kraakgeluiden, a improvisation series based in Amsterdam, exploring combinations of acoustic instruments, electronic instruments and computers, and using real-time interactive performance systems. Many of its musical collaborations that have resulted have taken on a life beyond the Kraakgeluiden series, which ceased in 2006. La Berge’s own music has evolved in parallel, and the flute has become only one element in a sound world that includes computer samples, the use of spoken text and electronic processing.
She works regularly as an improvisation and live electronics coach worldwide in the context of residencies and private coaching. 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 with Ensemble Modern, United Noise Toys, Fonville/La Berge, Rasp/Hasp, Bievre/La Berge, Apricot My Lady, Big Zoom, Corkestra, La Berge/Williamson and MAZE.
Her music is published by Frog Peak Music (US) and Donemus (NL) and many of her Max patch based compositions are available as Apps from her privately. She is the Managing Director of the Volsap Foundation that produces innovative music projects.
perform Sonate Nr. 1
Sonate Nr. 1, (original title Phaenophonie) was written for tape, piano and percussion in 1969.
The original score was lost and Wentinck wrote another in 1983 for 1 to 5 players. BMB con.’s version accentuates the sonic material of the tape part itself.
Victor Wentinck (1948) studied with Dick Raaijmakers and has had a long relationship with the music scene of Den Haag.