Past Programs

Concert 3: Tautologies, Transitions, Translations // Friday October 7th // Main Performance Space

“Translation (or metaphor) lies at the heart of creativity – the transfer of an idea, structure, or feeling from one domain to the other is the original creative act.” – Eric Wubbles

This concert features the Australian Premiere of American composer Eric Wubbles’ fascinating Tautology and Transition (2012). This work is divided into movements each of which are based on analyses of the sounds and techniques of specific instruments. These are echoed and translated by the other instruments in the ensemble and by doing so, these other instruments ‘analyse’ or ‘comment’ on the original instrument – leading to strikingly original musical textures.

Similarly, Liam Flenady’s work braneworlds (2016) explores the hidden dimensions of the flute revealed by its seldom-utilised techniques of underblowing. These are set in a radical contrapuntal web of the rest of the ensemble.

Kupka’s flautist Hannah Readon-Smith’s new work Olive (2016) for flute + flute creates tautologies and translations across the two instruments, all the while transitioning from fully notated music to free improvisation.

This concert also features a new work from Kupka composer Michael Matheison-Sandars and Alan Lawrence’s The Instant Burst of Clamour (2015) originally commissioned for the 100th anniversary of Gallipoli, and attempts to translate into musical form a complex image of war and its impacts, by drawing upon a scene from Shakespeare’s Hamlet.


Eric Wubbles (b. 1980) // Tautology and Transition (2012) AUSTRALIAN PREMIERE

Alan Lawrence (b. 1949) // The Instant Burst of Clamour (2015)

Hannah Reardon-Smith (b. 1987) // Olive for flute + flute (2016) WORLD PREMIERE

Michael Mathieson-Sandars (b. 1989) // New Work (2016) WORLD PREMIERE

Liam Flenady (b. 1987) // braneworlds (2016) WORLD PREMIERE


Left = Frantisek Kupka, Piano Keys Lake - Right = Kupka's Piano (Nick Morrissey Photography)

Left = Frantisek Kupka, Piano Keys Lake – Right = Kupka’s Piano (Nick Morrissey Photography)


Kupka’s Piano at the Imperial Room // Sunday July 10th // 4-6pm

The Imperial Room // Tamaree Ave, Wynnum

Kupka’s Piano is excited to return to the Imperial Room in 2016. Entry price includes a truly spectacular afternoon tea.


Elliot Carter (1908-2012) // Esprit Rude/Esprit Doux II (1994)

Corrina Bonshek // Nature Spirit (2016)

Giacinto Scelsi (1905-1988) // Hyxos (1955)

John Cage (1912-1992) // Living Room Music (1940)

Lisa Cheney // Quiver (2013) AUSTRALIAN PREMIERE

Eric Wubbels (b.1980) // Shiverer (2007)

Kupka's Piano - Nick Morrissey Photography

Kupka’s Piano (Nick Morrissey Photography)


PIERROT! // Friday June 10th // 7:30pm

Judith Wright Centre of Contemporary Arts // Main Performance Space

With guest artist Tabatha McFadyen (soprano)

Kupka’s Piano travels back in space-time to Germany on the verge of WWI to perform one of the masterpieces of musical modernism, Arnold Schoenberg’s Pierrot Lunaire. Based on the poems of Albert Giraud, this work explores the bewitched world of the clown Pierrot as he ruminates on desire, decadence, and death. Part melodrama, part cabaret, part song-cycle, Pierrot Lunaire still captivates audiences and stimulates the imagination today.


Benjamin Marks (b. 1973) // Passage Four, from the Circular Ruins 2 (2016) WORLD PREMIERE

Arnold Schoenberg (1874-1951) // Pierrot Lunaire (1912)

03) image for June 10th :: Left = Tabatha McFadyen (Morgan Roberts) - Right = Frantisek Kupka, Graduated Red

Left = Tabatha McFadyen (Morgan Roberts) – Right = Frantisek Kupka, Graduated Red 


Queensland Conservatorium Piano Series – Alex Raineri // Friday May 13th // 6:00-7:00pm

Queensland Conservatorium Griffith University // Ian Hanger Recital Hall

Hosted by the Queensland Conservatorium Griffith University, Kupka’s pianist Alex Raineri presents a recital of works from Australian, Austrian, Swiss and Russian composers.


Alexander Scriabin (1971-1915) // Sonata No. 7 ‘White Mass’ (1911)

Olga Neuwirth (b. 1968) // Incidendo/fluido (2000)

Beat Furrer (b. 1954) // Voicelessness, the snow has no voice (1986)

Liam Flenady (b. 1987) // Si el clima fuera un banco (2015)

Kate Moore (b. 1979) // Sensitive Spot (2007)


things are becoming new: KP @ QSOCurrent // Friday April 29th // 8pm

Auditorium 1 // State Library of Queensland

Enter a divergent and awe-inspiring sound world with contemporary music ensemble Kupka’s Piano as they perform a suite of audacious and mesmerising works.

“… the seamless blending of sound between instruments reveals a genuine strength of the ensemble. Whether in forming a vertical texture or in handing a phrase from one instrument to another, the sound glows with the musicality of the performers.” – Greg Hooper, Realtime Arts


Phillipe Hurel (b. 1955) // Tombeau in Memoriam Gerard Grisey (1999)
A surrender to intuition and ritual for vibraphone and piano.

Cornelius Cardew (1936-1981) // Treatise (1963-67)
2 musicians + a ‘score’ of lines, symbols and shapes.

Samuel Smith // things are become new (2014)
Unfolding instrumental colour and virtuosic gesture. See our interview with Sam here!

Brett Dean (b. 1961) // Old Kings in Exile (2010)
Primeval, evocative and crafted with brilliance. See our interview with Brett here (from 2014)!


Harrison’s Axe // Tuesday April 19th // 7:30pm

Judith Wright Centre of Contemporary Arts // Main Performance Space

“One thing I’ve tried to do in writing music is take on very basic things, very archetypal things.” – Harrison Birtwistle

Kupka’s Piano begins its 2016 season with the ‘elemental dynamism’ of British composer Harrison Birtwistle’s iconic piano-percussion duo The Axe Manual. Intricately rhythmic, fiendishly virtuosic, sometimes violent, other times playful, this work confronts and engages in equal measure.

Alongside this, Kupka’s presents the Australian premiere of Polish composer Jagoda Szmytka’s Just before after. Despite featuring at numerous international festivals in recent years, Szmytka’s dense and worldly sonic imagination has yet to reach Australian shores, and Kupka’s Piano is particularly thrilled to be presenting her Australian debut.

The concert will also feature the world premiere of not one but three new works, including new pieces by young Australian composers Liam Flenady and Jakob Bragg, as well as one by one of Kupka’s two flautists, Jodie Rottle.


Harrison Birtwistle (b. 1934) // The Axe Manual (2000)

Jodie Rottle (b. 1988) // New Work (2016) WORLD PREMIERE

Jakob Bragg (b. 1990) // New Work (2016) WORLD PREMIERE

Liam Flenady (b. 1987) // A New Day in the Desert (2015) WORLD PREMIERE

Jagoda Szmytka (b. 1982) // Just before after (2010) AUSTRALIAN PREMIERE

02) for April 19th :: Kupka's Piano (Nick Morrissey)

Photo // Nick Morrissey


Kupka’s Piano at Music by the Sea Festival // Sunday January 10th // 3-4pm

Sandgate Town Hall // Seymour St, Sandgate, QLD

The annual Music by the Sea Festival presents Kupka’s Piano trio of Macarthur Clough (clarinet), Adam Cadell (violin) and Alex Raineri (piano) performing contemporary works from Switzerland, Poland, America, Australia and France.


Krzystoph Penderecki // Three Miniatures for Clarinet and Piano // 1954

Beat Furrer // Lied // 1993

James Tenney // Koan // 1965-71 // AUSTRALIAN PREMIERE

Beat Furrer // Voicelessness, the snow has no voice // 1986

Peter Sculthorpe // Songs of Sea and Sky (selections) // 1991

Phillipe Manoury // Michigan Trio // 1993 // AUSTRALIAN PREMIERE

Photo // Nick Morrissey

Photo // Nick Morrissey


Extra Mural IV: Vortex Temporum

Friday November 27nd, 8:00pm
Judith Wright Centre of Contemporary Arts
Theatre Rehearsal Space // $22/$14
Grisey, Stockhausen

Kupka’s Piano tackles the pinnacle work of the French spectralist canon, Gerard Grisey’s monumental sextet Vortex Temporum. Taking a swirling figure from Ravel’s Daphnis and Chloé, Vortex pushes it to its limits, to its self-destruction, and then to its resurrection. To compliment the 40-minute masterpiece, the concert commences with Kupka percussionist Angus Wilson’s interpretation of Iannis Xenakis’ popular solo work, Rebonds A.


Gerard Grisey // Vortex Temporum
Iannis Xenakis // Rebonds A


Extra Mural III: The Human Detained feat. Makeshift Dance Collective

Friday October 30th, 7:30pm
Judith Wright Centre of Contemporary Arts
Main Performance Space // $22/$14
McAllister (WP), Newcomb (WP), Wolf (WP), Mathieson-Sandars (WP)

This concert presents the extended and completed installation of the collaboration between Kupka’s Piano and MakeShift Dance Collective, The Human Detained. This project features four world premieres of substantial new works by exciting young Brisbane composers Steve Newcomb, Michael Mathieson-Sandars, Samantha Wolf and Brodie McAllister.


Steve Newcomb // New Work // WORLD PREMIERE
Michael Mathieson-Sandars // New Work // WORLD PREMIERE
Samantha Wolf // New Work // WORLD PREMIERE
Brodie McAllister // New Work // WORLD PREMIERE

Supported by the Judith Wright Centre’s Space Program, made possible through Arts Queensland.


Patterns in a Chromatic Field

Friday August 28th, 6:00pm
Queensland Conservatorium of Music
Ian Hanger Recital Hall // $15/$10

Katherine Philp and Alex Raineri join forces to performance Morton Feldman’s stunning duo Patterns in A Chromatic Field (1981).


Kupka’s Piano at the Imperial Room

Sunday July 12th, 4:00pm
20 Tamaree Ave, Wynnum // $25
Harvey, Sculthorpe, Wolf, Messiaen, Pollard, Oliveros (AP)

The Imperial Room hosts Kupka’s Piano in a wide-ranging program of Australian works and two Australian premiere performances of pieces by Jonathan Harvey and Pauline Oliveros. This recital is taking place in a private venue and RSVP’s are essential. The $25 entry price includes a truly spectacular afternoon tea. To book your seat please contact Avon at


Mark Wolf // Umbra-Penumbra-Antumbra
Mark Pollard // Heavenly Muzak Machine
Peter Sculthorpe // Harbour Dreaming (Between Five Bells) 
Olivier Messiaen // Le Merle Noir
Jonathan Harvey // Nataraja
Pauline Oliveros // Thirteen Changes // AUSTRALIAN PREMIERE


Extra Mural II: Outer Sounds

Friday June 19th, 7:30pm
Judith Wright Centre of Contemporary Arts
Theatre Rehearsal Space // $22/$14
Lim, Furrer (AP), Hurel (AP), Combier (AP), Flenady (WP)

In Outer Sounds, Kupka’s Piano steps into the beyond: interstellar, mystical, civilisational. The concert features as its centerpiece Swiss composer Beat Furrer’s kaleidoscopic septet, Gaspra (1989). Titled after an asteroid of the same name, Gaspra is a poetic exploration of rhythmic structures and otherworldly timbres. This concert also features the World Premiere of Liam Flenady’s Si el clima fuera un banco for piano & tape, alongside pieces by Phillipe Hurel, Jerome Combier and Liza Lim.


Liza Lim // Inguz
Beat Furrer // Gaspra // AUSTRALIAN PREMIERE
Phillipe Hurel // Tombeau in Memoriam de Gerard Grisey // AUSTRALIAN PREMIERE
Jerome Combier // Feuilles des paupieres // AUSTRALIAN PREMIERE
Liam Flenady // Si el clima fuera un banco// WORLD PREMIERE


Kupka’s Piano at Crossbows II: Solos, Duos, Trios

Kupka’s Piano perform in a double bill event with Clocked Out as part of the second Crossbows Festival at the Queensland Conservatorium.

6:30pm, Thursday 16 October, 2014.
Ian Hanger Recital Hall, Queensland Conservatorium
Ticket prices TBA. Free for Conservatorium students.


Musicians tread a careful path between the interpreter’s authentic reproduction of a score and the opportunity in every performance for individual expression. Kupka’s Piano presents a program that explores the nexus between these two ideas, performing works that survey the space between the personal expression of both composer and performer.

Page 183 from Cornelius Cardew's 'Treatise' Page 183 from Cornelius Cardew’s ‘Treatise’

In 1961, inspired by the Big Bang theory, Peter Eötvös wrote a work entitled Kosmos. 32 years later Psychokosmos (for orchestra) was the inversion of this original idea. What was boundless became focused inward. Psy takes this inversion a step further. With material taken from a fragment of the larger work Psychokosmos, Psy is a window into a glimmering and intricate inner world – the Cosmos within.

In Cornelius Cardew’s famous graphic score Treatise the performer is both encouraged to reveal something of themselves in the music, and conversely challenged to come up with new ideas in response to what is visually presented. Following on from this will be two short improvisation based works by American composer Gust Burns, Wood Thrush and Lark Sparrow.

Young Danish composer Rune Glerup writes about his short work La Rose Pulverisée for Violin and Flute:

I was also interested in some contradictions, or a certain kind of inertia: The lyrical and violent in the image of a rose that gets pulverised, and the predominantly violent style of the writing, but for two very classical instruments that cannot produce that much sound. Always something violent with something fragile. You can find these oppositions in many aspects of the piece.

Finally, Kupka’s Piano pays its respects to one of the giants of Australian contemporary music, Peter Sculthorpe. This program will feature movements from his Requiem for Cello Alone. Commissioned in 1979 and premiered on his 50th Birthday, the Requiem is deeply personal. In the composers own words: “The work … alternates between the coolness and objectivity of plainchant, and the warmth, even passion at times, of my own kind of music, which here is concerned with imploring, with the wanting of forgiveness, and the wanting of eternal life”


Peter Eötvös (b. 1944) // Psy // 1996
Cornelius Cardew (1936-1981) // Treatise // 1963-1967
Rune Glerup (b. 1981) // La Rose Pulverisée // 2007
Peter Sculthorpe (1929-2014) // Requiem for Cello Alone // 1979


Tempi Espressivi


7:30pm, Friday 18 July, 2014
Theatre Rehearsal Space, Judith Wright Centre of Contemporary Arts

“The time is out of joint” – Shakespeare, ‘Hamlet’


Our experience of speed has changed dramatically since the birth of modernity – trains, factories, cars, planes, internet, fast food – and with it music (the temporal art par excellence) has had to reflect on what it means to depict motion and speed in sound.

Unlike the classical era of music making, and unlike the popular music of today, a clear and steady sense of time is not a given in Modernist music. Instead works often jump between different tempos, instrumental lines are stratified across different time-scales, regular pulses are undermined, and this confusion of time itself becomes an expressive dimension of the music.

Kupka’s Piano’s third concert in our series ‘Il faut être’ at the Judith Wright explores this modern sense of time in major works from the last two decades along with world premieres from our resident composers, Michael Mathieson-Sandars and Liam Flenady.

Beat Furrer’s ‘Presto con Fuoco’ (1997) is relentless. Constantly striving for an unknown goal, this virtuosic flute and piano duo hurtles its listeners through a series of escalating tempos. The two instruments interlock in complex and often surprising ways creating a kind of kaleidoscope of constantly varying musical fragments.

Liam’s new work ‘Quite Early Morning, no. 2’ refers to the late Pete Seeger’s song of the same name, a song of hope for change but of painful recognition of its elusiveness in the present. The new piece tries to capture some of this frustration and despair, but also this hope and this desire for action. “If we could heed, these early warnings / the time is now, quite early morning.” Time is out of joint: suspended between the utopian future and the dark present.

Through the ever-shifting speeds of his 1995 piano-marimba duo, ‘Quatre Pièces Fébriles’ (‘Four Feverish Pieces’), Georges Aperghis gives us something of an hallucinatory experience. The piece plays with the short duration of instrumental attacks and the long duration of their resonances. Aperghis writes: “The ‘Pièces fébriles’ are mirror-games between the piano and the marimba, resonance-games – games between the dry attacks and their resonances. Games in which one gets lost, no longer knowing who is who – or which is which.”

Michael Mathieson-Sandars’ new work ‘Motions’, a development on his piece in our March concert, further explores the time of the body, the strange rhythms of the physical erupting from the control of rational thought.

Join Kupka’s Piano in this special trio concert of flute, piano and percussion. Shortly after this concert, these musicians will travel to Germany for the Darmstadt Summer Course for new music, where they will perform this repertoire and engage in 2-weeks of new music making with their European counterparts.


Beat Furrer // Presto con fuoco // 1997
Liam Flenady // Quite Early Morning, no. 2 // 2014*
Michael Mathieson-Sandars // Motions // 2014*
Georges Aperghis // Quatre Pièces Fébriles // 1995

* World premiere


Kupka’s Piano, sub-trio: Hannah Reardon-Smith (flutes); Angus Wilson (percussion); Alex Raineri (piano).


Modern Music in Exile

7:30pm, 23 May, 2014
Theatre Rehearsal Space, Judith Wright Centre

“Our present age is one of exile. How can one avoid sinking into the mire of common sense, if not by becoming a stranger to one’s own country, language, sex and identity? Writing is impossible without some form of exile. Exile is in itself already a form of dissidence.” Julia Kristeva, 1977


Kupka’s Piano’s second concert in our 2014 series ‘Il faut être’ at JWCoCA sees an exploration into music which is outside, separated, distanced, foreign and other, with a concert almost entirely consisting of works composed in the past ten years.

At the heart of the programme is Brett Dean’s deeply psychological Old Kings in Exile, which contemplates the infirm in a way which exposes our own mortality and forces us to draw an unclear but undeniable line between our present existence and our lives past-lived.

Liza Lim’s Love Letter explores the distance between letter-writing lovers, inserting an additional communicative barrier by abstracting a musical space from a letter itself.

György Kurtág’s other-worldly Varga Bálint draws a series of delicately gestural vignettes which speak almost as if in an archaic language in slow motion, unknown and uncanny to listeners today. Tristan Murail, on the other hand, makes this archaic other-worldliness explicit and programmatic in his piece La Mandragore, which draws its inspiration from the superstition and mysticism of times past.

Join us also for the world premiere of a new work by young Australian composer Melody Eötvös who writes from her expatriate position in the United States, as well as the Australian premiere of an exciting duo, La Rose Pulverisée, by emerging Danish composer, Rune Glerup.


Brett Dean // Old Kings in Exile // 2010
Melody Eötvös // New Work // 2014*
Liza Lim // Love Letter // 2011
Tristan Murail // La Mandragore // 1993
György Kurtág // Varga Bálint Ligaturája // 2007
Rune Glerup // La Rose pulvérisée // 2007**

* World Premiere
** Australian Premiere


The 2013 peripatetic concert series: Where in the world is Kupka’s Piano?

Supported by the Judith Wright Centre of Contemporary Arts, Brisbane.

In 2013, Kupka’s Piano bravely embarked on a series of expeditions. We were getting a bit claustrophobic in the stuffy confines of the established repertoire of modern classical music, so we decided to break out and set sail for new seas and new shores.

We sought out the exciting composers of the younger generations around the world. We explored new developments and unheard of musical ideas. We premiered a bunch of brand new Australian works commissioned entirely for this series. Each concert charted a selection of innovative and intriguing works from a different country or region, and at the same time linked them to Australian works both celebrated and obscure.

These were strong, confident statements of musical futures for all concerned, composers and performers alike… Kupka’s Piano, still in their youthful twenties, bring a discerning maturity to their program and performance.

— Jocelyn Wolfe, Partial Durations


‘The American Dream-Song: New music in the USA’
Friday, 29 November 2013

nyc by night 2

Image source: Wikimedia commons; photo by: Paul Barcellos Jr.

We all know Hollywood, sitcoms, and MTV… but what happens when American culture puts on its serious face?

For the final concert of their 2013 series, Kupka’s Piano leapfrogs over the Atlantic to the New World to unearth the great American dream-song. The audience will retrace the steps of composers emerging and established as they lose themselves in the complex polyrhythms of modern American life.

There is perhaps no better explorer of these polyrhythms than Elliott Carter. One year on from his death at age 103, this concert will pay special tribute to the grand old man of American modernism with the performance of his epic 1982 work of ensemble gymnastics Triple Duo.

Alongside Carter, we present a work by another American eccentric, Morton Feldman, Voice, Violin and Piano. While the rhythms of Feldman’s music are much slower than those of Carter, he nonetheless achieves an equivalent distillation of the disorientation and complexity of modern life.

‘The American Dream-Song’ will also feature Australian premieres of substantial duo works by young American composers Kate Soper and Alex Mincek. Soper’s ingenious, alien and dynamic ventriloquism of flute and voice will baffle where Mincek’s rich sound palette of piano and saxophone will seduce.

In keeping with the duo theme, Kupka’s Piano will give the world premiere of a set of three duos for saxophone and Kupka’s performers, a disloyal homage to Elliott Carter, by KP composer Liam Flenady.

Elliott Carter // 1908 – 2012 // Triple Duo (1982)

Morton Feldman // 1926 – 1987 // Voice, Violin and Piano (1976)

Alex Mincek // 1975 // Pendulum III (2009)*

Kate Soper // 1981 // Only the Words Themselves Mean What They Say (2010-2011)*

Liam Flenady // 1987 // Material Fantasies (2013)**

* Australian premiere
** World premiere

Kupka’s Piano is joined by:
Peter Clark // conductor
Luara Karlson-Carp // voice
Sami Mason // saxophone
Katherine Philp // cello


‘To roam with love: Getting lost in new Italian music’
A collaboration with Ensemble Interface
Friday and Saturday, 27-28 September 2013

Italy email image (2)

Following sold-out performances and glowing reviews, Brisbane’s own Kupka’s Piano will be joined by European contemporaries Ensemble Interface when ‘To Roam with Love’ leads audiences to new Italian music this September.

Intrepid explorers of innovative music, Kupka’s Piano have been going from strength to strength in 2013 as they continue their inaugural four-concert series at the Judith Wright Centre. This concert marks the third in the series ‘Where in the world is Kupka’s Piano?’ exploring the latest, most fascinating art music from different areas from around the world.

The concert, taking place on September 27 and 28, explores new art music from Italy, featuring the latest experiments by the younger generation of Italian composers alongside established repertoire from Italian modernists. The collaboration will also present the world premieres of a number of Australian works by emerging composers Michael Mathieson-Sandars (Brisbane) and Luke Paulding (Melbourne).

Two works by young composers represent some new threads in Italian music: Clara Iannotta’s Il colore dell’ombra takes a new, ethereal look at the piano trio, while Mauro Lanza’s larger ensemble work The Skin of the Onion brings a kind of dilapidated mechanics to spectralism-inspired harmonies. Two of the older modern Italian masters are also represented, in Franco Donatoni’s monumental Arpège and Bruno Maderna’s sparkling Honeyrêves.

Specialists in the new and left-of-centre, Ensemble Interface were formed only 5 years ago in Frankfurt, Germany, although their members hale from Italy, Poland, Switzerland and elsewhere. A youthful ensemble, the group are dedicated to the virtuosic performance and innovative dissemination of contemporary classical music. They are in high demand internationally, playing at major festivals such as Darmstadt Summer Course for New Music, June in Buffalo and Tokyo Wondersite.

This collaboration is part of a JUMP mentorship grant delivered by the Australian Government through the Australia Council for the Arts and Next Wave, allowing the two ensembles to work together intensively for two weeks in the lead up to the concert.

Clara Iannotta (pictured) // b. 1983 // Rome // Il colore dell’ombra (2010)*

Mauro Lanza // b. 1975 // Venice // The skin of the onion (2002)*

Bruno Maderna // 1920-1973 // Venice // Honeyrêves (1961)

Franco Donatoni // 1927-2000 // Verona // Arpège (1986)

Luke Paulding // b. 1986 // Melbourne // Ordination of Verticals (2013)**

Michael Mathieson-Sandars // b. 1989 // New work (2013)**

Featuring Ensemble Interface members:
Bettina Danielle Berger // flute
Christophe Mathias // cello
Anna D’Errico // piano
Agnieszka Koprowska-Born // percussion

Kupka’s Piano is joined by:
Simon Cobcroft // cello
Peter Clark // conductor


Giants behind us: German music and its discontents
Friday, 10 May 2013

To the Old World, to hunt down the latest developments in Germanic music. No longer the friendly Viennese tunes we’re used to, no longer the clinical serialist powerhouse – what are they up to over there?

Peter Clark (b.1991) – In lines, in time 1 and 2 (2013) WP
Genoël von Lilienstern (b.1979) – The Severed Garden (2009) AP
Isabel Mundry (b.1963) – Composition for flute and percussion (1999) AP
Gerald Resch (b.1975) – Splitter (2002) AP
Katharina Rosenberger (b.1971) – phragmocone (2006/10) AP
Wolfram Schurig (b.1967) – A.R.C.H.E. (2005) AP

Kupka’s Piano was joined by Samantha Mason (saxophones) and Tabatha McFadyen (soprano) for this performance.

Germany concert


‘A new sun rises: Modernist music in Asia’ – March 8, 2013 / March 14, 2013:

Judith Wright Centre of Contemporary Arts / Nickson Room, University of Queensland

In the first of our 2013 concert series at the Judith Wright Centre of Contemporary Art we’ll hop from island to island, country to country across Asia and hear the play of Eastern and Western influences in composers from Malaysia, Japan, China and Korea.

Wang Lu’s From the Distant Plains II (2010) Australian premiere
Guo Wenjing’s Parade (2003)
Toru Takemitsu’s Distance de fée (1951)
Isang Yun’s Etude IV (1974)
Chong Kee Yong’s Time Flows (2007)
Toshio Hosokawa’s Edi (2009)
Annie Hui-Hsin Hseih’s Towards the Beginning (2010)
Liam Flenady’s Stars, not far off (2013) world premiere

Kupka’s Piano was joined by guest musicians Tabatha McFadyen (soprano) and Dale Rickert (violoncello) for this performance.

Asia concert


‘2013 Season Launch’ – February 1, 2013:

Judith Wright Centre of Contemporary Arts, Brisbane

2013 SEASON LAUNCH: To kick off our 2013 four-concert series we present music of Berio alongside our own composers.

Luciano Berio’s O King (1968)
Michael Mathieson-Sandars’ Brahms Sketch I (2012) WP
Peter Clark’s Sketch-fragment 6 (Berio-rendering) (2012)
Liam Flenady’s I measure myself (2013) WP

Kupka’s Piano was joined by guest musicians Tabatha McFadyen (soprano) and Dale Rickert (violoncello) for this performance.


‘Grisey-Boulez-Brisbane’ – October 5, 2012:

Music Rehearsal Room, Judith Wright Centre of Contemporary Arts, Brisbane

Major French composers of the 20th Century Olivier Messiaen, Pierre Boulez, and Gerard Grisey each take up and extend the characteristically exquisite French compositional style – albeit in varying ways. From the haunting, divine visions of Messiaen to the tight-knit filigree of Boulez to Grisey’s cosmic proportions, each one has captured a new way of feeling the beauty of sound. These ideas have impacted on young Brisbane composers Liam Flenady, Peter Clark, and Michael Mathieson-Sandars in their own development. Come hear these composers in dialogue through performances of masterworks and premieres by leading musicians of the new generation in Brisbane.

Grisey, Boulez, Brisbane is part of New Music Network‘s 2012 Mini Series. For this concert Kupka’s Piano will be joined by guest violinist Graeme Jennings and guest percussionist Cameron Kennedy.

Gérard Grisey’s Stèle (1995)
Liam Flenady’s Trio “Esprit Rouge” (2012) WP
Peter Clark’s Sketch-fragment 6 (Berio-rendering) (2012) WP
Olivier Messiaen’s Poèmes pour Mi bk 2 (1936)
Michael Mathieson-Sandars’s Solo for flute (2012) WP
Pierre Boulez’s Dérive 1 (1984)

For this performance, Kupka’s Piano was joined by guest musicians Graeme Jennings (violin), Katherine Philps (violoncello) and Tabatha McFadyen (soprano).

Kupka's Piano @ JWCCA 2012


‘Solos-Duos-Trios’ – 3rd and 11th of May 2012:

Queensland Conservatorium Crossbows Festival and the University of Queensland:

It is in the most intimate of settings where things can often become the strangest. Whereas the world of Western Classical or Romantic music often chose to mask the weirdness of close-quarters under the disguise of civility (whether through counterpoint, melody and accompaniment, or homophony), contemporary art music finds numerous ways to present, represent, draw upon, and exploit this innate proclivity for strangeness in small combinations.

Elliott Carter’s Esprit Rude/Esprit Doux II (1994)
Peter Clark’s Celan Trio I (2011)
Liam Flenady’s Sketches (2012) WP
György Kurtág’s Antiphona Hirominak (2003)
Philip Manoury’s Le Livre des Claviers IV (1987)
Olivier Messiaen’s Le Loriot from Catalogue of Birds (1956-1958)
Krzysztof Penderecki’s Prelude (1987)
Kaija Saariaho’s Oi Kuu (1993)

Kupka's Piano @ Crossbows