Written by Liam Barr
Performed by Phoebe Bognar

||fresh air||
A collaborative concert between The 810 Quartet, The Belephwants, Jess Hort and Phoebe Bognar; all performing modern works for chamber winds.

Fresh Air 2017

Sibilance

Sibilance | by Liam Barr

'legacy of ill placed' tracks is a set of  five graphic scores or ‘tracks’. Each ‘track’ forms a geographic sketch of a piece of Minjerribah / North Stradbroke Island, discussing stories inextricably linked to place. Originally composed for flute, piccolo, violoncello and ‘island percussion’ of snake pods and sand, the work is a reflection on the rich yet complex history and natural wonder of the island through sound. The work explores the concept of natural and human- induced activity, through tracks and shadows expressed in sound and visuals of processed video material taken on Minjerribah. 

This track is the pre-recorded material for the Mirroring Minjerribah exhibition at Jugglers Art Space, Brisbane. It features an arrangement for flutes, ‘island percussion’ to be played behind a sheet of imagery (taken by Bognár) and pre- recorded material which features David Moran on Violoncello.

legacy of ill placed tracks

legacy of ill placed tracks (2017) | fixed audio | Phoebe Bognár

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

Climatic Metamorphosis (2015, scored for piccolo, 2 flutes, alto flute, bass flute and vibraphone, intends to paint a “two degree rise in  temperature in two minutes” highlighting the alarming impacts of this change in  a desperate plea for action. It weaves a musical “nightmare” from the idyllic, unscathed landscape of the opening theme to the  severe prospect of a mutated, decayed world.

Performers:
Rosamund Plummer (piccolo), Marie Heinrich (flute), Angus McPherson (flute), Liz Chung (alto flute), Kinzey Alexander (bass flute)

Climatic Metamorphosis (2015) | Phoebe Bognár

recorded and edited on Stradbroke Island (June 2017)
this song was made while we were visiting the island as part of an 'art infield' tour through the Queensland College of Art and Queensland Conservatorium.  
Phoebe Bognar- flute
David Moran- cello

paradise LO$T

World premiere of 'How to Discipline a Curious Mind' (2018) for flute, french horn and marimba by Elizabeth Shearon. Performed by Lily Bryant (flute), Claudia Leggett (French Horn) and Grace Kruger (Marimba). 

Elizabeth writes: “Having a long visual art experience, I like the idea of “painting” with colours and timbres of instruments, using embellishments, textures and layers in my music. In this particular piece the reflection on the issue of inequality of women in the past and current times is represented. Using these three instruments (Flute, French Horn and Marimba), I visualised a scene where an opinion, a curious thought or a question (represented by playful flute parts) are being disregarded by harsh narrow-minded feedback (stopped horn) and followed by harmonic accompaniment of marimba. Through the variety of techniques, timbres, textures and contrasting natures of these three instruments, I explore the realities of oppressive ideals and raise awareness of the real life issue of gender inequality."

PRP S1 Mid Semester 5000QCM

How to Discipline a Curious Mind (2018)| Elizabeth Shearon (World Premiere)

The world premiere of 'I was in your house and waited that the Rain might come' for mixed large ensemble by Australian-born composer Jasmin Leung . 
Performed by Amanda Terry (violin), Ellie Harrsion (viola), Phoebe Bognar (flute), Georgia Balchin (voice), Jaidyn Chong (voice), Taana Rose (voice + electronics), Hannah Reardon-Smith (bass flute), Claudia Leggett (French Horn), Jean-Paul Cerdan (Tuba), Renee Edson (Cello) and Michael Louttit (double bass).

I was in your house and waited that the Rain might come (2018)| Jasmin Leung (World Premiere)

Aure (2011) by Kaija Saariaho for violin and viola. 
Performed by Lara Baker-Finch on violin and Ellie Harrison on Viola.

Aure (2011)| Kaija Saariaho

Concerto for Active Frogs (1974) by American composer, Anne LeBaron. Scored for 2 solo instruments, mixed chorus, percussion and tape. 
Performed by Merinda Dias-Jayasinha (vocal soloist) Amanda Terry (Violin), Sasha Walker (Bassoon); Harmony Jane DeBono, Georgia Balchin, Adelina Martinez, Taana Rose, Cameron Rollo and Jaidyn Chong (mixed chorus); Joyce To (percussion). 
Conducted by Phoebe Bognár

Concerto For Active Frogs (1974)| Anne LeBaron

The Fall of the Leaf (1963) by Imogen Holst for solo cello. Performed by Renee Edson.

The Fall of The Leaf (1963)| Imogen Holst

Bloodmoon October (2014)by Australian-born composer Kate Moore for solo piano and live electronics. 
Performed by Crystal Smith on Piano and Gregory McLucas on Live electronics.

Bloodmoon October (2014)| Kate Moore

Founded in Brisbane, Women of Noise (WoN) is concert and podcast (Women of Noizzze) series that provides a crucial platform for disseminating and celebrating the musical contributions of women in music. Formerly "Noisy Women".

I was in your house and waited that the Rain might come (2018)| Jasmin Leung (World Premiere)

Women of Noise (WoN)

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