CV - short versions

1. Elisabeth Flunger is a percussionist, composer and performer and lives in Vienna. She works with classical orchestras and contemporary music ensembles as well as with improvising musicians and dancers, she gets involved in theatre and dance productions and she holds workshops on improvisation and composition for children, amateurs and professional musicians.
Elisabeth Flunger’s favourite instrument is a collection of trash metal objects, used in concerts, installations and performances. For this instrument she created a series of solo pieces and developed appropriate playing techniques.



2.
Elisabeth Flunger was born in Bolzano in Italy and studied musicology, ethnology, composition, and classical percussion in Vienna.
As a percussionist for contemporary music she worked as a soloist and with ensembles like Klangforum Wien, die reihe, Ensemble des 20. Jahrhunderts, PHACE, United Instruments of Lucilin. As an improvising musician she played with musicians like Cordula Bösze, Sylvia Bruckner, Karlheinz Essl, Chris Janka, Hannes Löschel, Jorge Sanchez-Chiong, Stefan Scheib, Elliott Sharp, Kazuhisa Uchihashi, Ute Völker, Wolfgang Schliemann.
Elisabeth Flunger also works as a musician, composer and performer for theatre and dance productions, e.g., at Burgtheater, Akademietheater, and Volkstheater in Vienna, with Rose Breuss, Tanz*Hotel, DamenImprovisation & HerrenBIGbäng, LuxFlux, and the Compagnie Veronika Riz. Occasionally she builds some musical marble runs and other installations.
In the context of music and art mediation, she holds lectures and workshops on improvisation and composition for children, amateurs and professional musicians.
Elisabeth Flunger’s favourite instrument is a collection of trash metal objects, used in concerts, installations and performances. For this instrument she created a series of solo pieces and developed appropriate playing techniques.



3. Elisabeth Flunger was born in Bolzano in Italy and studied musicology, ethnology, composition, and classical percussion. She lives in Vienna.
As a percussionist for contemporary music she worked as a soloist and with ensembles such as Klangforum Wien, die reihe, Ensemble des 20. Jahrhunderts, PHACE, United Instruments of Lucilin.
As an improvising musician she played with musicians like Cordula Bösze, Sylvia Bruckner, Karlheinz Essl, Hannes Löschel, Jorge Sanchez-Chiong, Stefan Scheib, Elliott Sharp, Kazuhisa Uchihashi, Ute Völker. Current long-term cooperations are a duo with Chris Janka (electric guitar), a trio with Thomas Berghammer (trumpet) and Alessandro Vicard (double bass), a percussion trio with Bernd Bleffert and Wolfgang Schliemann, and vasistas duo with french poetry performer Emmanuelle Pellegrini.
Elisabeth Flunger also works as a musician, composer and performer for theatre and dance productions, at Burgtheater, Akademietheater, and Volkstheater in Vienna, with Rose Breuss, Tanz*Hotel, DamenImprovisation & HerrenBIGbäng, LuxFlux, and the Compagnie Veronika Riz.
She designed the space/sound installation ferragosto II for the Essl Museum in Vienna, the video installation ISO Popcorn in cooperation with Sneja_D, and the installations Anthem and Double Split with Robert Hall. For the Essl Museum, the Philharmonie Luxembourg and Le Fonds Belval she realized the musical marble runs ferragosto I, la route flonflon and Métal-Musique.
For the women’s archive CID – Fraen an Gender in Luxembourg she curated the department for experimental and improvised music.
In the context of music and art mediation, she holds lectures and workshops on improvisation and composition for children, amateurs and professional musicians.
Elisabeth Flunger’s favourite instrument is a collection of trash metal objects, used in concerts, installations and performances. For this instrument she created a series of solo pieces and developed appropriate playing techniques.



Work

Elisabeth Flunger plays with a collection of different metal objects : sheets, tubes, tools, parts of machines, relicts from the kitchen, objets trouvés etc. In search of an appropriate way to use this instrument, rather than applying traditional percussion techniques, she works the objects by physical and spatial manipulation: pile up, crash down, arrange, put, move, push, throw, pull, swing, rock, shake …
In the chaos of the disordered material, movement and repetition generate figures and patterns similar to music. Music becomes a game where natural principles like random, gravity and resistance play an important role producing surprise and suspense. They generate a situation whose destination is unforeseeable, a project opposed to the ordinary (music and life) concept of sureness, control and efficiency.