Posts Tagged ‘kupka’s piano

05
Nov
15

The Human Detained

 

The Human Detained

Makeshift Dance Collective & Kupka’s Piano

Judith Wright Centre of Contemporary Arts

Friday October 30 2015

 

Reviewed by Ruth Ridgway

 

 

Kupka’s Piano aims to entice audiences into hearing new sounds, new structures, new musical ideas.

Kupka’s Piano, program note

 

 

We work collaboratively to make art that moves.

MakeShift Dance Collective, program note

 

 

KupkasPiano_TheHumanDetained

 

The Human Detained is a collaboration between Brisbane-based contemporary music ensemble Kupka’s Piano and MakeShift Dance Collective. Named after the 1909 painting The Piano Keys by Bohemian artist František Kupka, Kupka’s Piano focuses on work by young contemporary composers. MakeShift is a small group of dance artists and guest collaborators, dedicated to contributing to independent dance in Brisbane.

 

Four new compositions were presented in the following order: Kicking Gaols by Steve Newcomb; Thin Lines of Ours by Brodie McAllister; The Binds That Tie Us by Samantha Wolf; and For Reza Berati by Michael Mathieson-Sandars.

 

The ‘human detained’ theme was sometimes loosely and at other times more literally interpreted.

 

The piece most fully realised theatrically was The Binds That Tie Us (performed by pianist Alex Raineri, and dancer/choreographer Gemma Dawkins). Raineri and Dawkins are seated at either end of a table, with a glass bowl of eggs on the table between them. At first the performers seem to be playing a competitive game, snatching eggs out of the bowl in turn, and arranging them in lines.

 

Throughout, Raineri plays a range of keyboard instruments, including a toy piano with a very plaintive, lost sound. The haunting music plinks and plonks like an accompaniment for dolls dancing.

 

Moving away from the table, Dawkins places eggs in a circle around her, as if creating a barrier. She finally puts them in a line, and then slowly and hesitantly breaks them one by one in various ways – for instance, she steps onto one, and then bends to press the next one with her hand.

 

The hollow sounds of the eggs scraping, clicking and rolling, and the wet crunches as they break are a significant part of the whole soundscape of the work. Eggs are a powerful symbol of new life, but also of fragility. Deliberately breaking them feels like a transgressive act. The idea of making barriers out of them emphasises the illusory nature of some boundaries, and how easily they can be broken.

 

The most literal interpretation of the theme of detention is For Reza Berati, which is a demand for justice, respect and dignity for asylum seekers, and a protest against their detention by Australia. It also honours the memory of Reza Berati, an Iranian asylum seeker who was killed in the detention centre on Manus Island in 2014.

 

Jodie Rottle (flute) and Alethea Coombe (violin) at first appear like gaolers, pinning dancer/choreographer Courtney Scheu to the ground. She escapes, rolling on the ground and lying curled in a foetal position. Some of her later movements look like supplications, and she bends her head forward submissively.

 

Gradually, as they play, Rottle and Coombe begin to also make louder and louder breathy noises that transform into spoken words, such as ‘No!’ and ‘No fear!’ They also stamp their feet. The sincerity of the work is plain, but this section is repetitive, and too long.

 

Kicking Gaols features Angus Wilson on vibraphone, and dancer/choreographer Caitlin Mackenzie. The composition is electroacoustic, also using a laptop programmed to respond to particular pitches from the vibraphone, and to incorporate ambient sound recorded on a visit to the former Boggo Road Gaol. The metallic bars and tubular resonators of the vibraphone visually echo the bars of a prison.

 

The sounds of the vibraphone are like temple bells and gongs, and soothingly meditative at first. Mackenzie appears, lying behind the vibraphone, and then dances in oscillating or rebounding movements, as if hitting an invisible barrier, recoiling and repeating the movement.

 

Thin Lines of Ours is an intense piece for dancer/choreographer Gabriel Comerford and clarinettist Macarthur Clough. With compelling energy and control, Comerford conveys a sense of struggle, using circling and contracting patterns of movement.

 

Music and dance interludes separate the main works on the program. The most memorable is Interlude II, where all the performers walk on stage in a line, whirling plastic tubes that make eerily beautiful sounds like unearthly voices.

 

The visual design of the show is very understated (no designer is credited). The musicians and dancers are plainly dressed in loose tops and skirts or pants in combinations of brown, burgundy, and grey.

 

The hour-long performance of The Human Detained passed so quickly that it finished before I realised. With the interludes, there are nine different items, which makes for a varied and generally fast-moving program.

 

The composers and compositions are given prominence in the brief printed program, with the dancers/choreographers and the musicians credited only in a list of the members of each ensemble. I found the show engaging and intriguing, but it was difficult to work out who was doing what, and also to distinguish when the different items started and finished. More information in the program, and perhaps some clearer way of distinguishing between interludes and the main items, would help the audience to better appreciate the performance.

 

03
Dec
13

Kupka’s Piano

 

The American Dream-Song: New Music in the USA

Judith Wright Centre

Judith Wright Centre Theatre Rehearsal Space

Friday November 29 2013

 

Reviewed by Guy Frawley

 

Kupkas_Piano_ensemble

 

Kupka’s Piano has finished their 2013 concert series with a one night only performance of The American Dream-Song: New Music in the USA. Following on from their exploration of new Italian music in September’s To Roam With Love, The American Dream-Song, as the name suggests, is an exploration of modern music, heavily influenced by composers from the USA.

 

It’s great to see such a talented  group of young artists coming together to not only perform but also to explore and present a style of music that they are all obviously passionate about but that doesn’t often get top billing. Three of the five pieces performed throughout the concert were Australian premieres, one of the pieces a world premiere and the majority of composers sampled are under 40. The performers were: Hannah Reardon-Smith (flutes), Macarthur Clough (clarinets), Angus Wilson (percussion), Alex Raineri (piano), Alethea Coombe (violin), Katherine Philp (cello), Samantha Mason (saxophones) and Luara Karlson-Carp (vocals).

 

The concert explored a number of different themes within the music, with a heavy focus on the ideas of counterpoint, instability and surprise. My personal favourite of the evening was the opening piece Only the Words Themselves Mean What They Say composed by the young American composer Kate Soper and performed by Hannah Reardon-Smith and Luara Karlson-Carp. They commented afterwards that this piece had required a long rehearsal period for them to get it just right and I can certainly believe that. The two blended together Karlson-Carp’s voice and Reardon-Smith’s flute until you weren’t sure which you were actually listening to.

 

Such control and skill is a pleasure to witness, especially when it’s clear how much the performers are enjoying themselves.

 

This has been an exciting year for Kupka’s Piano, selling out a number of their concerts and receiving glowing reviews from the modern music community that has come out to support the young group. Liam Flenday, a founding member of Kupka’s Piano and a composer of one of the pieces being premiered, was able to announce during his introduction that the Judy has invited them to return in 2014 for another series of concert performances.

 

It’s great news to hear that the Judy will be continuing to support this eclectic musical collective and their 2014 season will be kicking off on the 21st of March with The Machine and the Rank Weeds: An exploration of the mechanic and the organic in modern music.

 

 

Kate Soper / Wet Ink: Only the Words Themselves Mean What They Say (2010-2011) from EMPAC @ Rensselaer on Vimeo.