Phoebe Bognár is an Australian-born flutist, composer and improviser. Her approach to music is sewn with vibrancy and diversity, and explores a diverse range of genres, repertoire and styles.

Phoebe has been a featured artist in concerts, festivals and exhibitions across the globe notably Musiikin Aika Time of Music Festival (Viitasaari, Finland), Nief-Norf Summer Music Festival (Knoxville, Tennessee), the Tyalgum Music Festival (New South Wales, Australia), Sydney Festival, the Queensland Music Festival, Dots and Loops Nonstop Festival (Brisbane), New Sounds Brisbane and Mirroring Minjerribah (Queensland, Australia). Last year, Phoebe was invited to perform in the Bang on a Can Summer Festival at MASS MoCA in Massachusetts. This project was supported by the Queensland Government through Arts Queensland.

Phoebe has performed and worked alongside several established artists including Ken Thomson, Gregg August, Brad Lubman, Michael Gordon, Anne LeBaron, Simone de Haan, Erkki Veltheim and Tim Munro and ensembles including as The London Improvisers Orchestra, EcosonoClocked Out Duo and Cadenza Chamber Players. She has been part of several chamber ensembles including Electrickery and the Strážná Věž Trio which received an honourable mention in the 2017 4MBS Chamber Prize. In addition to her solo and chamber performances, Phoebe also delights in orchestral projects, notably playing flute and piccolo in Opera Queensland’s 2017 production of ‘The Merry Widow’ by Franz Lehár as part of the Queensland Music Festival.

In 2018, Phoebe completed her Bachelor of Music in flute performance at Queensland Conservatorium Griffith University under the tutelage of Virginia Taylor. She then proceeded to study with the flutist, author and pedagogue Trevor Wye at his ‘Flute Studio’ in England. She received generous support from the Australia Council for the Arts Development Grant for Individuals and Groups and The David Cubbin Memorial Fund for her studies abroad.

She has also had the privilege of playing for renowned flutists in private lessons and masterclasses around the world including Michael Cox (BBC Symphony Orchestra Principal Flute Player, England), Rachel Brown (exponent of historical flutes, England), Robert Dick (Flutist, Composer, Innovator and Author; New York), Lisa Cella (Artistic Director of San Diego New Music; Baltimore), Laura Chislett (Flutist, Australia) and Vernon Hill (Flutist and author; Australia).

As a composer, Phoebe experiments with traditional notation, graphic scores, site-specific composition and installations. Her works have been played by various artists in events and venues including the Queensland Conservatorium New Music Ensemble, Queensland Conservatorium Griffith University, Nief-Norf Summer Festival ‘Norf-Space’ (Knoxville, Tennessee), and in the Mirroring Minjerribah exhibition (Brisbane, Australia). She holds a passion for expanding musical horizons through performing new works and collaborating with composers from diverse backgrounds. She has performed several world-premiers to date, including works by Elizabeth Shearon, Darian Donovan Thomas, Sophia Jani, Soo Yeon Lyuh, Matīss Čudars, Gerard Brophy, Catherine Likhuta, Julian Day and Jasmin Leung.

In addition to her activities as an artist, Phoebe is an activist, endeavouring to include art as a vehicle for activism. She is also the founder and artistic director of Women of Noise (WoN), formerly known as ‘Noisy Women’, a concert celebrating international Women’s Day. WoN aims to provide a platform for the diverse and prolific work of women composers, performers and collaborators. Phoebe also is a passionate climate activist and has been part of the Australian Youth Climate Coalition (AYCC) since 2013. In 2017, she coordinated an immersive art installation outside Queensland Parliament with the AYCC. She is also the founder of Musicians Against Climate Modulation, a collective of musicians who endeavour to use the positive influence of music as activism against climate change.

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I acknowledge the Gadigal People of the Eora Nation as the first inhabitants and the Traditional Custodians of the lands where I live and work. I acknowledge Elders past, present and emerging, and their ongoing connection to country. Sovereignty was never ceded.