Flutist Shanna Pranaitis fearlessly expands the realm of sonic possibility for her instruments through innovative performances and educational projects, in which she integrates new and historically reimagined works with multi-disciplinary elements to create seamless, immersive concert experiences. She is interested in exploring ways to engage and involve a wider community in the process of experiencing music. An important part of this work is the close cooperation with living composers, poets, movement artists, and other interdisciplinary artists, around the world on the development of new work.
She regularly performs and teaches as a solo guest artist and with the chamber ensembles Memoria Nova (Andrew Rosenblum, piano) and Collect/Project, and as a guest artist around the world. She has received numerous accolades for her performances including, prizes at the Stockhausen Courses, the Darmstadt Ferienkurse, and New Music USA project grants. She was previously a founding member of Chicago-based Ensemble Dal Niente, with whom she received the 2012 Kranichstein Prize for Interpretation. In 2017, she co-curated and co-organized the first multi-day festival of Galina Ustvolskaya’s music in the United States.
She is the artistic director and co-founder of FluteXpansions, the first comprehensive e-learning platform and laboratory for composers and performers to explore contemporary flute music and techniques. Her recent debut solo CD of Claus-Steffen Mahnkopf’s works for flute (NEOS) has been hailed as “remarkable” and a “virtuoso testimony.” She performs on a Burkart flute and piccolo and Kingma bass and alto flutes.
Photo credit: Niklaus Strauss
Matthias Ziegler is one of the world’s most versatile and innovative flutists. He is committed both to the traditional literature for flute as well as to contemporary music and concepts that cross the boundaries between classical music and jazz.
Accordingly, his performances take place in a vast range of contexts: he was principal flute with the Zurich Chamber Orchestra, has toured with the percussionist Pierre Favre, performed with the pianist George Gruntz as well as with the American contrabass player Mark Dresser. He has been cofounder of the ”Collegium Novum Zurich“, where he has worked with Mauricio Kagel, Heinz Holliger and George Crumb.
Concert tours have brought him to the US, Japan, Australia, South America and Israel. Many recordings on CD document his inclusive musical interests. Matthias Ziegler currently teaches at the Zurich University of the Arts, where he is leading a research project about the Telematic Performance Format, which has become essential during the pandemic.
Searching for new sounds he enormously broadened the expressive potential of the traditional flute and the electro-acoustically amplified contrabass flute. Amplifying the flute allows him to increase the volume of the microsound structures of the flute to an audible level.
A 1981 winner of the Dutch Gaudeamus Prize for Interpreters, American flutist Camilla Hoitenga entered the European scene as one of the collaborators of legendary composer Karlheinz Stockhausen. Soon after began her long-standing collaboration with Kaija Saariaho, which has resulted not only in enriched repertoire for flute and award-winning recordings but also in featured piccolo- and bass- flute parts in the opera Only the Sound Remains, staged in Amsterdam, Helsinki, Paris, Madrid and New York, and, upcoming, in Tokyo, Venice and Barcelona.
Additional collaborations with both composers and performers have recently inspired a new concerto by Alex Nante, as well as music by Christophe de Coudenhove, Maija Hynninen, Peter Koeszeghy , Anne LeBaron, Lei Liang, and Ton-That Tiet written expressly for her ensembles FLUTE/KANTELE (with Eija Kankaanranta), TRIO ARIEL (with Anne-May Krüger, mezzo soprano and Héloise Dautry, harp) and
WAVE DASH~ (with percussionist Magdalena Meitzner).
Also enthusiastic about art and improvisation, Camilla Hoitenga is often invited by visual artists, art galleries and museums for her own music or for interdisciplinary projects, most recently by Jean-Baptiste Barrière for his New York production of The Art of Change Opera.
Camilla's flute teachers include Alexander Murray, Peter Lloyd and Marcel Moyse, her degrees are from Calvin College (B.A.) and University of Illinois (M.Mus., D.M.A.). Camilla Hoitenga is a Burkart European Artist Ambassador and an Altus Artist.
Flutist Eric Lamb is in demand internationally as a concerto soloist, recording artist, recitalist, concert curator and chamber musician. Eric is Lecturer of Flute Performance and Head of Woodwind, Brass and Percussion at the International Academy for Music and Performing Arts in Vienna, Austria. Before this appointment, he held a two-year position as Lecturer of Music at the University of Auckland School of Music in New Zealand where he taught both chamber music and flute.
A student of Michel Debost and Kathleen Chastain at Oberlin Conservatory of Music, he completed his studies at the Hochschule für Musik Frankfurt, Germany with
Thaddeus Watson (Orchestral and Concert Soloist Diplomas) and later at the Sculoa di Musica di Fiesole with Chiara Tonelli.
Formerly a member of the International Contemporary Ensemble (ICE), he is presently member of both Ensemble Reconsil, Quasars Ensemble and guest principal flutist in orchestras and ensembles throughout Europe.
Photo credit: Andrej Grilc
Photo credit: Reuban Radding
Jane Rigler began her speciality in flute performance at Northwestern University (B.M. 1988) and developed her work further in experimental music at UCSD (M.M. 1991, Ph.D. 1996). Her international career performing edgy, complicated compositions as well as becoming a professional improviser started while living in Spain. In New York she deepened her compositional work with electronics and performed as a guest artist with established contemporary ensembles (Either/Or, Wet Ink, etc.). She continues to be a featured soloist in many international electronic music festivals (CubeFest, SEAMUS, NYCEMF, SIGGRAPH, NIME, etc.).
Her compositions play with movement, space, languages, ancestral songs, game techniques and invite all to imagine and improvise. As a certified Deep Listening© facilitator she offers inclusive listening experiences throughout the world. Jane thrives at artist residencies like Civitella Ranieri, Montalvo, Ucross, Hambidge, and Harvestworks that promote her collaborative nature. Thanks to the US-Japan Friendship Creative Artist Fellowship (2009-2013), Jane studied Noh theatre, Aikido, and performed over twenty concerts in Japan. In 2016 she toured in Italy, France, Germany, Finland and Spain offering workshops and interactive concerts with a NewMusic USA grant. In 2019-20 she explored Ireland on a Fulbright Award where she studied Irish (Gaeilge), Sean-nós and ancient Ogham scripts for a series of new compositions based on the stones, ancient trees and landscapes. Jane appears on various labels such as Neuma, Tzadik, Porter, DewDrop, Sachimay. An Associate Professor at the University of Colorado (UCCS) she teaches flute, Sound Art, listening, computer music, composition and improvisation.
Photo credit: Betty Fleck
Melody Chua is considered a pioneering force her generation in the development of interdisciplinary performances with new technologies. Her portfolio includes works with 360° touchscreens, 360° videos, Ambisonics, motion capture systems, live-coding, pressure-sensitive shoes, real-time projection visuals, and sensor-augmented instruments, while at the same time reflecting critically on the multifaceted issues surrounding human-machine interactions. Her current research at the Zürich University of the Arts focuses on the development of an improvisation machine (AIYA) that takes inputs from a sensor-augmented flute (Chaosflöte), and she examines the human-machine relationships, shifting posthuman identities, and forms of agency that manifest within performances with this machine. Melody is the co-founder and co-executive director of Null-state, a non-profit organization and performance ensemble committed to advancing the development of sensor-augmented instruments, live coding, and electroacoustic music education.
Awarded a Fulbright-Swiss Government Excellence grant for the development of the Chaosflöte, Melody has performed and presented at various festivals such as the Zürich Digital Festival, Zürich Design Biennale, ZKM Next Generation Festival, Geneva International Film Festival, Network Music Festival, La Côte Flute Festival, Swiss Digital Day, PAM-Hörmal Festival, Performing Media Festival, Immerse: Creative City Project, and the USF New Music Festival, in addition to engagements at the Institute for Computer Music and Sound Technology Zürich (artist residency), Immersive Arts Space Zürich (diploma residency), University of South Florida (artist residency), Atlantic Festival Future Music Lab (fellowship), Montreal Contemporary Music Lab (performer), Kein Museum (solo installation exhibition), and the Timucua Arts Foundation (artist residency), among others. As an educator, Melody has given lectures on electroacoustic music, improvisation, and interactive music programming at institutions such as the Zurich University of the Arts, University of Central Florida, University of South Florida, Wayne State University, The Melrose Center, and the Atlantic Music Festival.
Hilary Abigana is a founding member and flutist for the hybrid arts ensemble, The Fourth Wall. Praised by The Wall Street Journal for their “deft choreography,” The Fourth Wall’s mission is to create programming that engages everyone from elementary school children to classical performance connoisseurs through a new hybrid of the performing arts in which musicians are also actors and dancers. In a theater, breaking the fourth wall brings the world on stage directly into the audience; as an ensemble, The Fourth Wall, breaks the barrier between serious art and serious fun.
Hilary was the winner of the 2003 Eastman Nielsen Flute Concerto Competition, performing with the Eastman Philharmonia Chamber Orchestra in a gala concert honoring Professor Emeritus, Joseph Mariano. She was also the winner of the 2008 Houston Flute Club’s Byron Hester Young Artist Competition, a silver medalist at the 2008 Fischoff Competition, and a silver medalist at the 2014 Midwest Fleadh Cheoil Over 18 Céilí Band Competition.
Passionate about teaching, Hilary has been on faculty at Floot Fire Dallas, the International Flute Symposium, the Irish Arts Academy of Indianapolis, taught masterclasses across the country with The Fourth Wall, and has been the Guest Artist at numerous universities and flute societies. Most recently, she was the Guest Artist for the Oklahoma Flute Society, presenting a digital recital that included Alexandra Gardner’s Fade for Flute and Electronics which she also premiered at the 2019 National Flute Association Convention.
Hilary is a proud Verne Q. Powell Flutes Artist.
Translated in Korean as “Milky Way” or “Galaxy”, the artistic career of Meerenai Shim (pronounced “ME-ren-ey”, like they) is appropriately expansive and all-encompassing. A flutist with a new music focus, she promotes contemporary work through myriad channels, including as a solo performer, her chamber ensembles, her record label, and her own discography of three albums, all of which have been warmly reviewed.
Ms. Shim has performance credits across the United States, including within the Soundwave Biennial in San Francisco, the Bang on a Can Summer Festival, the National Flute Association’s annual Conventions, and numerous universities. Her impact across new music manifests in part from her two chamber ensembles: she is involved as a founding member of the innovative flute and percussion duo, A/B Duo (2013) and joined contemporary flute trio Areon Flutes in 2016.
Meerenai Shim holds degrees from San Francisco State University (M.M.) and DePaul University (B.M.), and is a fiscally-sponsored affiliate of InterMusic SF, a not-for-profit organization dedicated to small-ensemble music in the San Francisco Bay Area. Outside of performance, she founded the independent record label Aerocade Music in 2015, which has released one dozen albums to date of contemporary classical, electronic, and experimental music from the West Coast. Meerenai is also a Guild Certified Feldenkrais PractitionerCM and has been a movement coach for musicians since 2012. She makes her home in Silicon Valley with her husband Dave and their Great Dane mix, Lady.
Morgann Davis is the professor of flute at Millersville University and a freelance flutist, educator and 200hr registered yoga teacher. She operates Davis Flute Studio in Lancaster, PA and enjoys leading musicians in yoga and other concepts of physical and mental wellbeing. She can be heard with ensembles like the Lancaster Symphony, Harrisburg Symphony, Reading Symphony, Allegro Orchestra, and Endless Mountain Music Festival. Morgann has served on the Career and Artistic Development Committee of the National Flute Association and is the Program Director of Nextgen Youth Music. When she isn’t performing, Morgann enjoys writing about the experiences we have as musicians and hosting events for her students including the annual DFS Flute Day. www.morgannelycedavis.com
Guest Presenter/Teacher Bios
Carla Rees is a British low flutes player, composer and arranger, working to raise the profile of her instruments through research, performance and collaboration. Her career incorporates solo and chamber music performance, interdisciplinary collaboration, and recordings, including a discography of over 20 CDs. She has premiered several hundred works for low flutes, many of which are now published by her company Tetractys Publishing and is currently working on a project to create contemporary repertoire for baroque flute.
She has nearly 90 published arrangements and compositions, including her 2016 work for solo piccolo, Nightsong, which has
been performed in the UK, France, Germany, Poland, USA and Canada and has been broadcast on BBC Radio 3. She is Artistic Director of the contemporary chamber music ensemble rarescale, with whom she has performed in the UK and internationally and appeared on BBC Radio 3, and Director of its associated ensemble, rarescale Flute Academy. She has a PhD from the Royal College of Music in London.
She became the first Professor of Low Flutes and Contemporary Flute at the Royal Academy of Music in September 2021, teaches the flute at Royal Holloway University of London and is Music Programme Leader for the Open College of Arts where she designed and now runs an innovative online music degree course.
She has taught masterclasses and workshops for flute players and composers at some of the world’s leading institutions, including the Juilliard School in New York and USC in Los Angeles. Recent performances include in Italy, Poland, the Netherlands, Costa Rica, Japan and Brazil, as well as at Café Oto, Iklectik and the Coronet Theatre in London, and the Sonic Arts Research Centre in Belfast.
During the pandemic she has been working on telematic improvisation systems and has given a number of transatlantic performances streamed on YouTube. Carla plays Kingma System flutes, made for her by Eva Kingma, Bickford Brannen and Lev
Levit. She is Editor of the British Flute Society’s magazine, PAN, and Chair of the New Music Advisory committee for the National Flute Association of America.
The Flute Mechanic
presents a DIY & Maintenance Clinic
Rachael Simon is an independent flute, piccolo, and low flute repair specialist based out of Doylestown, PA. Her experience as a flute performance major, auto mechanic, and lifelong perfectionist led her to the magical world of flute repair. Rachael’s career began as a flutemaker at Burkart-Phelan, Inc, and her own repair shop in Doylestown is the official Burkart Repair Center East. Additionally, Rachael worked as a repair and inventory technician for the renowned repair shop JL Smith and Co. Rachael’s love for the flute as both a handmade work of art and an elegant machine inspires her every single day. www.theflutemechanic.com
What the Metaverse?!
Belgian flutist and Doctor of Musical Arts, Ine Vanoeveren (b. 1986), is specialized in contemporary music and virtual performances. She obtained her Master’s degree at the Conservatoire Royal de Musique de Liège (2010), in the class of prof. Toon Fret, a Master in Advanced Studies in Contemporary Music Performance and Interpretation (2012) in the class of Mario Caroli, at the Conservatorio della Svizzera Italiana and a DMA in Contemporary Music Performance (2016) in the class of Prof. John Fonville, at the University of California, San Diego.
During her doctoral research, Ine focused on the development of a performance practice method for the music for flute solo by Brian Ferneyhough. Her doctoral project, ‘confined walls of unity’, is a series of lectures, papers, and a solo recital, consisting of his whole oeuvre for flute solo.
She has performed with several ensembles, including Ictus, Hermes, Palimpsest Ensemble, and Ensemble Echoi, and collaborates with numerous composers such as Brian Ferneyhough, Steven Takasugi, Rand Steiger, Robert Dick, Brian Griffith-Loeb, and Jason Eckardt and premiered works by Roger Reynolds, Fernanda Aoki Navarro, James Bean, Bradley Scott Rosen, Dan Tramte, Marcelo F. Lazcano, Kevin Zhang, Felipe Rossi, Sam Hayden and Anahita Abbasi, amongst several others.
Ine is the artistic coordinator and performer with the digital arts collective studio.POC, focuses on the fusion of art, performance, and new technologies. In 2021 studio.POC developed several virtual exhibition spaces and performances in Mozilla Hubs, engaging the virtual audience in an interactive way.
Their project Empty Mind, originally a composition by Wim Henderickx, is an innovative virtual live performance with live interaction of a virtual audience that premiered in October 2021.
Starting in 2022, studio.POC will develop VR performances in collaboration with the technology campus Corda Campus (BE) and the graphic design company Studio Plankton (BE) as part of an Innovative Partner Project supported by the Flemish government's culture department. Within this project, an innovative think tank will be organized around the futuristic phenomenon of digital waste. studio.POC also devises and develops digital concepts for various cultural organizations and media companies
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 main flute teachers were Mary Roberts Wilson, Walfrid Kujala at Northwestern University, Frank Bowen at the University of New Mexico and Alexander Murray at the University of Illinois, Champaign-Urbana.
She plays Kingma System flutes and uses the Kyma System for her electronic instrument.
She performs regularly as soloist, with the ensemble MAZE. 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.
Anne La Berge works regularly as an improvisation and live electronics coach worldwide in the context of residencies and private coaching and teaches in the composition and sonology faculties of the Royal Conservatory in The Hague.
She can be heard on the Largo, Artifact, Etcetera, Hat Art, Frog Peak, Einstein, X-OR, Unsounds, Canal Street, Rambo, esc.rec., Intackt, Data, verz, Real Music House, Relative Pitch, Carrier and Splendor Amsterdam labels which include recordings with Ensemble Modern, United Noise Toys, Fonville/La Berge, Rasp/Hasp, Bievre/La Berge, Apricot My Lady, Big Zoom, Corkestra, Joe Williamson, MAZE, Phil Maguire, Ted Moore, Ig Henneman, Jaimie Branch and her family.
Her music is published by Frog Peak Music, Alry Publications and Donemus; 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.