3/10/17 at 8:00 pm
Radius Gallery: 1050 River St. #127, Santa Cruz
Tickets: $15 General / $10 Students
Amsterdam-based flutist and electronic musician Anne La Berge performs Utter, based on the linguistic complexities of mother-child communication. BASSONANCIA explores the resonance of the bassoon with digital sound and vacuums.
Anne La Berge’s solo concert Utter features richly moving interactive works that weave together performer, audience and digital technology. From her new collaborative work Utter to the Byzantine-inspired Oneiricon from Yannis Kyriakides, La Berge combines virtuosity, innovation and raw emotion in a way rarely seen on today’s stages.
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. 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. At the heart of their duo is a self-designed, digital cueing system that operates as a sometimes-visible third member. She is a member of MAZE, an electroacoustic ensemble dedicated to performing experimental musical forms. 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.
Her music is published by Frog Peak Music (US) and by Donemus (NL). She is the co-director, with her husband David Dramm, of the Volssp Foundation that supports innovative projects for composed and improvised music.
We explore the resonances of the bassoons using analog and digital tech like vacuums and granular processing. The entire interaction between the two musicians relies on schemes of improvisation and fixed media. BASSONANCIA resembles reminiscences of historical instruments combined with Mexican soundscape recordings that transform into a warp sonic disruption.
Pablo Rubio-Vargas is a multimedia artist/composer from Aguascalientes, Mexico. He is currently studying the DMA in Composition at the University of California, Santa Cruz.
Pablo has been fortunate to work with several outstanding musicians such as the International Contemporary Ensemble (ICE) Arditti String Quartet, Horacio Franco, Mélodie Michel, Wilfrido Terrazas, Eva Zondler, Alexander Bruck, Bergamasque Duo, Eight Blackbird Ensemble, and Daniel Sanchez, among several others.
Currently is working with David Dunn as his advisor, exploring diverse topics such as Natural Acoustic Composition Phenomena, expansion on Sonorus Mexican Identity, among others. He studied composition with Ignacio Baca in Queretaro. In 2013 he completed the MFA in Improvisation, Composition & Technlogy at UC, Irvine. Working with Christopher Dobrian as his advisor.
I come from a Early Music background, with a special focus on historical bassoons. In 2014-2015 I went for a world travel through 14 countries over 4 continents, meeting traditional musicians and exchanging views on historically informed performance and on traditional and non-western classical musics.
In 2016 I’ve been in residence in Casa Allen - Casa das Artes in Porto, Portugal. I used this time to experiment new relationships between the musician’s body and the audience. I developed then other projects in Portugal, as “ComCordas” with four musicians playing plucked instruments from different musical cultures, and a solo “le Cinquième Temps” including voice, dance and wind instruments.
She’s a PhD student at the UCSC since September 2016.
Indexical’s concerts in Santa Cruz are supported in part by the Arts Council of Santa Cruz County.