6:30pm, Friday 25 July, 2014
Ian Hanger Recital Hall, Queensland Conservatorium
Tickets $15/$10, purchased at the door. Free for Conservatorium students.
Morton Feldman was a composer who drew inspiration from the art world outside of music, with a special interest in the visual art of his contemporaries.
“Music can achieve aspects of immobility, or the illusion of it,” he wrote in 1981. “The degrees of stasis, found in a Rothko or a Guston, were perhaps the most significant elements that I brought to my music from painting.”
“Crippled Symmetry” at once captures this stillness and the kind of movement one experiences looking at a detailed yet abstract image, viewing the subtle shift from one pattern, one interaction of forces, to the next. This gives a sense of suspended motion, and when combined with the childhood music box sounds of the celesta, glockenspiel and flute, traps you in the space between nostalgia and suspense.
While far from the six hours of Feldman’s second string quartet, or the five hours of his “For Philip Guston” for this same trio of flute, piano and percussion, “Crippled Symmetry” is still a 90 minute epic that asks the listener to let go of their sense of time passing and of their usual musical expectations. Feldman’s music is something to enter and gradually come to inhabit on your own terms.
Morton Feldman // Crippled Symmetry // 1983
Kupka’s Piano, sub-trio: Hannah Reardon-Smith (flutes); Angus Wilson (percussion); Alex Raineri (piano/celeste).
Il faut être
Kupka’s Piano 2014 concert series at JWCOCA
In his 1873 poem A Season in Hell, then 18-year-old Arthur Rimbaud wrote “Il faut être absolument moderne.“
Today, we claim, it remains necessary to be absolutely modern – to push the limits of human experience and uncover new modes of expression, to throw off the shackles of outmoded musical forms and unearth the new. While there is no one musical aesthetic that represents the way forward, composers of the older and younger generations all around the world are today undertaking fascinating experiments, each of them offering hints at what music could be.
In our four-concert series ‘Il faut être’, Kupka’s Piano will venture into the possible paths of the musically modern. Through virtuosic and energetic performance, we will explore the complex and the deceptively simple, the helter-skelter and the tranquil, the silent, the near silent, the hidden and the heard.
Our year kicks off with an exciting joint project:
‘The Machine and the Rank Weeds’
March 21, 2014
A collaboration with Sydney’s Ensemble Offspring, this concert plays with the relation between the mechanic and the organic, necessity and freedom. The title for the concert comes from the subtitle of Gerard Grisey’s visionary 1986 composition Talea, featured in the program alongside Andriessen’s music from the factory floor – Worker’s Union – and a new work by Kupka’s resident composer Michael Mathieson-Sandars.
‘Modern Music in Exile’
May 23, 2014
This concert presents leading Australian composer Brett Dean’s dark and romantic work ‘Old Kings in Exile’ with other exiles, young and old, from Australia and around the world.
July 18, 2014
Capturing multiple contrasting speeds occurring simultaneously, works like Beat Furrer’s ‘Presto con fuoco’ and Georges Aperghis’s ‘Quatre pièces fèbriles’ present the disorientating tempos of modern life.
‘Absent, almost absent’
November 28, 2014
Alongside enchanting, vanishing works by composers Peter Ablinger and Pedro Alvarez, this concert performs Liza Lim’s ‘Veil’ and a new work by ELISION trombonist Ben Marks.