Spring has quietly slipped out of the room. Summer, with all its languid confidence, has taken its place, allowing golden sunlight to spill across every boulevard, café terrace and hidden corner of Frankfurt. Yet it is not the daylight that truly belongs to the city. It is the hours after dusk.
Inside a smoke-hazed club, the crowd gathers beneath the glow of amber lights. Some arrive with friends. Others come arm-in-arm with spouses, partners, fiancées or lovers. A few prefer the quiet companionship of solitude, nursing a drink while waiting for the first note to land. The room hums with anticipation.
Then the music begins.
At the piano sits Frank Dupree, entirely at ease, leading his jazz trio through a succession of timeless standards. His fingers move with effortless fluency, yet there is nothing casual about what unfolds.
Every phrase carries intention. Every silence possesses meaning. Every improvisation feels like a conversation between old friends who have spent a lifetime learning how to listen.
For Dupree, music has never been merely a profession, nor simply a pastime. It is a way of inhabiting the world. The German pianist, conductor and bandleader has built a career on dissolving the artificial boundaries between genres, moving seamlessly between the concert hall and the jazz club with a rare authenticity that few musicians can convincingly claim.
Equally respected on the international classical stage, Dupree has earned widespread acclaim for his interpretations of the works of Russian composer Nikolai Kapustin, whose music famously fuses the sophistication of classical form with the spontaneity of jazz.
His recordings of Kapustin’s piano concertos have become touchstones among musicians and critics alike, with The New York Times describing them as “among the year’s most compulsively replayable recordings”—an accolade seldom bestowed upon concerto albums in an era increasingly shaped by fleeting algorithms and disposable playlists.
Yet statistics, awards and glowing reviews reveal only part of the story. What distinguishes Dupree is not merely technical brilliance, but his ability to transform performance into shared experience.
Whether conducting an orchestra, leading a trio or sitting alone at the piano, he possesses that increasingly rare quality that cannot be taught, manufactured or rehearsed: presence.
It is precisely this presence that makes his forthcoming appearance in Kuala Lumpur particularly compelling.
Ahead of his one-night-only performance at MPO Presents: Jazz, Classical & Beyond at the revered stage of the Dewan Filharmonik PETRONAS on 13 June 2026, EPOULOGUE had the privilege of exploring Dupree’s richly textured musical universe through a thoughtful and far-reaching conversation.
The result is a revealing portrait of an artist who approaches music with equal measures of curiosity, discipline and joy—one whose career continues to demonstrate that the distance between jazz and classical music may be far smaller than many imagine.
And if the finest concerts leave audiences feeling as though they have stumbled upon something both timeless and fleeting, then Frank Dupree’s arrival in Kuala Lumpur promises precisely that rare experience: an evening where virtuosity meets spontaneity, where elegance meets swing, and where eighty-eight keys become a passport to somewhere unforgettable.
For EPOULOGUE readers discovering you for the first time, how would you describe Frank Dupree, not simply as a pianist or conductor but as a musician and storyteller?
My passion is making music together; creating unforgettable moments alongside amazing musicians. As a classical pianist, I also love other genres such as jazz. So, let’s make music together and inspire some people!
Looking back, was there a defining moment when music ceased to be merely an interest and revealed itself as your life’s vocation?
Absolutely. When I was 13, I performed Tchaikovsky’s Piano Concerto with an orchestra for the first time. Even while I was still on stage during the concert, I knew that this was what I wanted to do for the rest of my life. And, lo and behold, 20 years later, I haven’t regretted my decision for a moment. On the contrary: today, I look forward to every single concert I play.
As a teenager, I played both drums and piano. The world of percussion encompasses many more styles than just the classical European tradition. It was through playing the drums that I discovered jazz and came into contact with Latin, Indian and African music. These musical styles have a lot to do with improvisation. Later, I asked myself, can I improvise on the piano too? The answer is, yes! Jazz on the piano opened up a whole new world for me. I listened to records by Oscar Peterson, Miles Davis and Count Basie, and even today, alongside classical music, I’m very interested in jazz. I also have my own jazz trio.
Of all instruments, why the piano? What was it about the instrument that captivated you so completely from the beginning?
It was a stroke of luck! When I was 4 years old, there was a keyboard under the Christmas tree and I started playing right away. For me, the piano offers the most possibilities: harmonies, rich tones and even soft notes; I can play all kinds of styles on it and let my imagination run wild. Not to mention the vast repertoire available to us pianists.
Do you still remember your very first performance with a philharmonic orchestra? What did that experience awaken in you as a young musician?
That was a long time ago. I was 9 years old when I had the opportunity to perform a piano concerto by Haydn. For me, playing with an orchestra is the most beautiful way to make music. Since then, I’ve learned and performed many piano concertos, often conducting from the piano myself. That’s my greatest passion.
You inhabit the rare dual role of pianist and conductor. Creatively and emotionally, how different are those two states of mind?
These are two exciting roles that come together in one person. I feel that my dual role allows me to connect very closely with the musicians in the orchestra. We’re on the same musical wavelength and together, we’re bringing one of the masterpieces to life. Every musician has a great deal of responsibility. When it all comes together, it feels as though we’re playing together in a big band. It’s a dream!
Could you tell us about the origins of the Frank Dupree Trio? What inspired you to form the ensemble and what does the Trio allow you to express that perhaps the concert hall does not?
When I was younger, I listened to a lot albums of Oscar Peterson’s and Bill Evans’ Trio. It was always my dream to perform in this kind of line-up. In my two colleagues, Jakob Krupp on bass and my drummer Obi Jenne, I’ve found the perfect partners. Of course, we play jazz standards and improvise but we also write our own arrangements, often drawing on classical music; sometimes Bach, Beethoven, Ravel, Bernstein and Nikolai Kapustin. In my trio, I can fully express myself musically, be creative, spontaneous and often humorous as well. And it’s a priority for us to bring jazz into concert halls.
Your recordings of Nikolai Kapustin’s piano concertos received widespread acclaim, with The New York Times describing them as “one of the most entertaining put-on-repeat recordings of the year”. How do you process praise of that magnitude as an artist?
Words like that are, of course, a great honour to me. However, I’m not resting on my laurels. Instead, I’m channeling that positive energy into overcoming further challenges and turning my plans into reality. It’s like a fresh air under your wings!
Jazz and classical music possess entirely different energies and emotional languages. On a deeply personal level, which feels closest to your spirit when you perform?
Yes, the energy and the language are very different. But I’m also noticing more and more connections between the two genres. At the end of the day, they’re both music! I believe that my classical piano playing has become more creative and spontaneous through improvisation in jazz. Of course, I don’t compose new notes for a Beethoven piano concerto but you can certainly play with tempo, articulation and the audience’s reaction. Conversely, in jazz, I try to clearly shape and structure my spontaneous improvisations. I’ve learned a lot from both sides.
Classical music and jazz are often perceived — unfairly, perhaps — as genres reserved for certain audiences or social circles. Do you believe that perception still exists today or are younger listeners beginning to engage with the music differently?
I think interest in music is growing all the time, in classical music and jazz. There are now so many ways to connect with new, interested audiences. We artists are like ambassadors and our message is “Hey, keep your ears open and listen to that!”
Having received distinctions such as the International Classical Music Awards and the Opus Klassik, what role do competitions and accolades truly play in a musician’s journey? Are they catalysts for growth, validation of craft or something else entirely?
Throughout my career, I’ve participated in many competitions. It’s not just about winning but about taking on a challenge, learning new repertoire and showcasing your skills on stage. I find it helpful to gauge my own level, see what other artists are performing, and, above all, meet new people. There have been so many competitions and workshops where I’ve made great friends!
Beyond the piano, are there other instruments you enjoy playing, perhaps privately, away from the expectations of the stage?
I still play the percussion instruments, sometimes even on stage. Maybe even at my concert with the MPO in Kuala Lumpur… 😊
I was absolutely thrilled and, of course, accepted the invitation right away. The fact that we’ll even be performing a piano concerto by Nikolai Kapustin is both the greatest honour and a joy for me. I’m also really looking forward to experiencing Malaysian culture and meeting the local people. I can’t wait to visit Malaysia.
You have performed with orchestras across the world, from the BBC Philharmonic to the Royal Liverpool Philharmonic and the Royal Scottish National Orchestra. Do the atmosphere, cultural temperament and working rhythm of each city and orchestra subtly shape the way you perform?
It’s really interesting to get to know new cultures and we humans can be very different in our nature. But when it comes to music, two things are of the utmost importance: professionalism and a love of music!
You will open the evening with Piano Concerto No. 4. What makes this particular work such a compelling piece with which to begin a concert?
Nikolai Kapustin’s Piano Concerto No. 4 begins like a lightning-fast rocket launch (without a countdown)! For over 20 minutes, the orchestra, the audience and I soar through every conceivable musical universe: rock ’n’ roll, swing, blues, as well as the classical worlds of Shostakovich, Ravel, Gershwin and Rachmaninov. I’m really curious to see how the audience will react at the end.
Nikolai Kapustin appears almost as a spiritual companion throughout your career. What is it about his musical language that resonates with you so profoundly?
It’s true, in recent years, I’ve devoted myself very intensely and with great energy to the compositions of Nikolai Kapustin. I’ve always been searching for a further development of Gershwin’s music that synthesis of classical and jazz. There are very few works for piano by Bernstein or Copland. In Kapustin’s works, I found the answer: the perfect fusion of both genres. I also find it incredibly exciting to discover new music and present it to the audience.
Absolutely, yes!!! The MPO and I are performing Duke Ellington’s “Caravan” on stage in my own arrangement for piano, percussion and string orchestra. I created this arrangement especially for the MPO. I can promise you: we’re going to bring the house down!
The concert is intriguingly titled Jazz, Classical & Beyond. Without revealing too much, what unexpected moments or musical surprises can audiences anticipate from the evening?
A piano concerto that probably no one in Malaysia has ever heard ‘live’; wild and virtuosic jazz improvisations; a fireworks display of drum solos!
Finally, when the final note fades and the audience leave the hall, what do you hope they carry home with them from the experience and what do you hope to take away from your time in Kuala Lumpur yourself?
I hope the audience won’t just walk out of the concert hall. I’d much rather see them go home dancing along with big smiles on their faces. Isn’t music the most wonderful thing in the world?
A million thanks to the Dewan Filharmonik PETRONAS team for facilitating this interview.
Catch Frank Dupree live at the MPO presents Jazz, Classical & Beyond concert under the musical difection of Music Director Junichi Hirokami on 13 June 2026 (Saturday), 8.00pm at Dewan Filharmonik PETRONAS. For tickets and more information, visit www.mpo.com.my today!
*Photos courtesy of Dewan Filharmonik.PETRONAS.
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