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.
Photo credit: Keke Keukelaar
Anne La Berge
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.
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.
Carla Rees is a British low flutes player, composer and arranger, working to raise the profile of her instruments through research, performance and, collaboration to create new repertoire. Her career as a performer incorporates chamber music, solo work, interdisciplinary collaboration, and recordings, including a discography of over 20 CDs, and she is currently working on a project to create contemporary repertoire for baroque flute.
She has premiered several hundred works for low flutes, many of which are now published by her company Tetractys Publishing. 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, teaches the flute at Royal Holloway University of London and is BA (Hons) Music Programme Leader for the Open College of Arts.
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 was previously the International Liaison Committee Chair for the National Flute Association of America.
Photo credit: Andrej Grilc
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.