Playing around with some pitch shifty things for class.

Harmonica, melodica, voice, rubber band, metal bowl, qigong balls.

shdw

g̶l̸i̸t̴c̴h̶

Performer: Phoebe Bognár

About the piece:

The Famous Box Trick (Illusions Fantasmagoriques) is a 1898 French short black-and-white silent trick film, directed by Georges Méliès. In the words of writer Michael Brooke, the film "hearkens back to stage magic.”
​
I found fascinating the hybrid texture of the “trick” which allows the spectator to position himself in between the physical magic of the stage and the virtual “magic” of cinema - the corporeal vs. the incorporeal - biological time vs. the machine time.​

The spectator is suspended in between the belief in the trick and the conscious awareness of it. This is not the case in modern cinema, where the spectator is cut out from the “illusion” and can only believe in it from the “outside.”

The Famous Box Trick (2015) for bass flute and electronics
density 2036: part iii
​​The flute inhabits corporeal sounds, including the family of vocal sounds obtained by the complex interactions of the voice with the instrument. These are, paradoxically, made to sound “fake” by a sound-world of completely synthetic sounds realized by electronics means. 

The result, like Meliès’ absurdist irony, is the reciprocal estrangement of the ontological nature of each sound-world.

— Francesca Verunelli

Credits:
Audio recording: Eguzki Irusta Salles 
Audio mix and master: Francesca Verunelli, Eguzki Irusta Salles

Recorded in Bau3, Basel as part of the Density Arts Fellowship.

With immense gratitude to Claire Chase for her continuous support, benevolence and mentorship. Thank you for inviting me on board the Density Fellowship and guiding me through this project.

And to Francesca Verunelli, for her generosity of time and collaboration, giving me insight into realising her creative vision.

Francesca Verunelli: The famous box trick (2015)

Persistent Engines (2017) is scored for “solo flute and voice”.

The piece is based on a poem written by the composer on a sleepless night, in which the composer describes the sounds that permeate her sleep and flood her room. In this state of insomnia, she takes her pen and writes.

Persistent Engines, is written in three sections (i. rupture, ii. ...like a feather on a breath of god..., iii. ...the low hum of mildly clandestine...) with a cadenza (‘jeux de nuit’). It incorporates a range of colours and sound, manifested in timbre, density and ‘extended techniques.’ The work explores the dense and darker tones of the flute, pushed to the point of breakage.

persistent machines

persistent engines (2017)| Phoebe Bognár

Stairwell dialogue between Timothy Green and Phoebe Bognar.

Improvisation on metal materials pt. 1

fixed media track for 'ingrained/in-grains' (2019) by Phoebe Bognár for percussion/speaker + fixed media.

To be premiered at the 2019 Tilde New Music Festival, Victoria, Australia by Joyce To. 

Composed, recorded and mixed by Phoebe Bognár.
Materials: alto flute, bottles. 
Recorded in the Church of St James the Great, Elmsted, UK.

ingrained/in-grains: fixed media (2019)| Phoebe Bognár

Performed and arranged by Phoebe Bognár (flute) and Nicoló Neri (violoncello) at the Musiikin Aika Time of Music Festival in Viitasaari, Finland.

Mirrors (1997)| Kaija Saariaho [arrangement by Bognár & Neri]

From the composer:

This composition is dedicated to and reflecting on the climate issues human race is facing in 2019. After the heartbreaking reports and footages of the massive forest fires on all continents, temperature rise and the new scientific data released by IPCC that demonstrate the devastating consequences of fossil fuel usage, carbon release and overconsumption, I found it necessary to reflect on these problems within my professional capacity. The original speech is written by Greta Thunberg for presentation at the World Economic Forum in Davos, Switzerland in March 2019.

This composition is written for my dear friend, flutist, composer, improviser climate activist and entrepreneur Phoebe Bognar (AUS)

Elizabeth Shearon | I Want You To Panic (2019)for flute/piccolo + tape.

A improvisation of sorts. 
Flute + Voice: Phoebe Bognár

in the comfort of discomfort

for bass flute and fixed audio.

composition, poem and mixing by phoebe bognár.

my memories hold the name of a fruit (2020) | phoebe bognár

messed around with some sounds I recorded in Basel. Mostly liquid varieties.

falling upwards

fluid state: performer, flutist + composer. Collector and maker of sounds.

phoebebognár

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