Kirsten Milenko
Kirsten Milenko
Composer • Producer • Writer


Chamber Ballet


De-Voir: solo piano

Composed for dancer/choreographer Hayley Page for the 2017 Hamburg Ballet Young Choreographers Series; this work was performed onstage with the dancers. A pas de trois was choreographed simultaneously to the music composition - enabling both elements to converge and grow as one entity. [Read More] 

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Nightglow: prepared piano with electronics

In collaboration with New York based pianist Lucy Yao - this is one piece composed for a collection of works focusing on historical art from a female perspective; here being the tale of Orpheus and wife Eurydice as he attempts to save her from an eternity in the underworld. 


The Artefact Series



Beneath every sound lies a spectrum of colours that are most often hidden within broader aspects of the passing world. These are the artefacts of everyday existence and the inspiration for a series of works that act as a portrait to trace the micro inflections of our world.

All sounds are drawn from the source instrument. Each work focuses on a close collaboration between myself and the individual performer. When presented in tandem with the macro sounds of conventional performance, the Artefact Series works to sketch a portrait of natural resonance within the instrumental body alongside the inflections of a particular performer within one short frame of time. Performance is for live and fixed electronics with the featured artists.

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Artefact Works

Ex Aere

for soprano voice & double bass

Sylvie Louise Woods and Jacques Emery



for solo cello

James Morley


for prepared piano, double bass & bass clarinet

Jacques Emery and Max Miller Boch

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for solo guitar

Dennis van Rooyen



The series is grounded on a fusion of musique concrète and contemporary sound spatialisation to immerse the listener into specific environmental structures. The rationale behind the series is to discover inflections known to a specific performer on their instrument and explore these to create a sonic hemisphere of music which offers immersion to the listener and a new perspective on contemporary classical music and the wonderful performers who bring to life the music we listen to. 


Symphonic Poetry


Symphony d'aere: Wind Symphony and solo violin

A piece on the subject of plastic pollution and its presence of interaction within our world. The extent of its touch is beyond anything we as a human race have so far experienced. Like a work of Frankenstein, plastics created by humans have now determined a life of its own, beyond our grasp of control or even our influence.

We have created substances that have stepped beyond us and no longer need our intervention to have methods of definition within the world. We are part of our environment, completely inseparable from its flux and its flow. Everything that we interact with entwined with our daily lives and eventually our bodies. There is no separation.


l'espace: Orchestra

A narrative work set over the open ocean, l'espace details the presence of a small ship amidst blooming storm clouds. Designed as the soundscape for a pas de deux, the work is fable telling of siren-song leading to the demise of one character. Here, the open ocean takes the role of the siren as it attempts to seduce the ship into its depths to drown. It is an interaction of dream-states between the soft lull of the ocean's call and its rage as the ship awakens.  

Opia: Chamber orchestra

An analysis of the phenomenon 'opia' as coined in the Dictionary of Obscure Sorrows, defining neologisms for emotions that do not otherwise have a descriptive term. Composed for and premiered by the Esbjerg Ensemble in tandem with Pulsar Festival 2018.

Opia (n.) the ambiguous intensity of looking someone in the eye, which can feel simultaneously invasive and vulnerable—their pupils glittering, bottomless and opaque—as if you were peering through a hole in the door of a house, able to tell that there’s someone standing there, but unable to tell if you’re looking in or looking out.





Caeli (April 2019)

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If a forest could speak to us what would it say? The most ancient living aspect of our planet unveiled into a tangible face of interaction through conversation most traceable to siren-song. The album has been inspired by a reading of Peter Wohlleben's 'The Hidden Life of Trees'. The single 'Ex Aere' first premiered in July 2017 in City Recital Hall, Sydney Australia, before remastering for release 31st December 2017. The album 'Caeli' releases in April 2019. 

Composition and Production by Kirsten Milenko
Voice by Sylvie Louise Woods
Double Bass by Jacques Emery
Album Artwork by Brontë Hock

Available on Spotify, iTunes & Bandcamp.

Extended Portfolio

The poetic image is a sudden salience on the surface of the psyche
— Gaston Bachelard, The Poetics of Space