Between 2004 and 2016, Maksymilian Kapelański composed more than 200 sets of funk-disco loops on a Korg Triton workstation. Loops from each set may be combined in real-time into a practically infinite number of musical pieces, each with a different succession of sections, instrumentation, length and formal development. In addition to newly building the pieces' shape in real time, Kapelański improvises melodies and other musical parts over the evolving patterns. In his work, he explores combinations of funk-disco with club, jazz, electronica, chill-out, and non-Western music. Humour is no stranger to his music, with titles such as "My Baby Sitar", "Road-Runner Disco", and others. He gave two performances of his music in Montreal and one full-length solo concert titled Funky Pierogis.
Maksymilian Kapelański performed his untitled improvisational noise work at a concert by various artists in Montreal's La Sala Rossa in 2003. His music featured jazz organ sonorities played on a synthesizer, with minimalistically transforming harmonic drones and acoustic wave beatings set at a high volume.
In 2002, Kapelański performed the first keyboard part in a musical adaptation of The Who's Tommy, staged by the McGill University Opera in Montreal. The Who's Tommy is a rock musical (premiered in 1992) by Pete Townshend and Des McAnuff based on The Who's 1969 double-album rock opera Tommy.
The early 2000s were a brief intensive period of collective activities by Kapelański. At a Sound Night curated by him in The New Clark Gallery Box, he performed The Heisenberg Transfiguration (2001). The work and its shocked reception is described in his Short Texts.
Maksymilian Kapelański and Agnieszka Brańska gave a performance of Steve Reich’s Clapping Music (1972) at a concert held in the Frederick Chopin School of Music Concert Hall in Warsaw (1996). Kapelański performed the phasal clapping part from sheet music, while Brańska performed the steady clapping part from memory. When the two parts came back into sync, the audience gasped aloud!
In the early 90s, Kapelański played the harpsichord in the Royal Conservatory of Music Baroque Ensemble. Among its performances, it added splendour to a celebration of Toronto's Cabbagetown Festival in a participating restaurant's summer garden. It was a perfect time to enjoy ginger lemonade, summer salad and birdsong, along with Tafelmusik on this colourful occasion. Afterwards, the musicians and ensemble leader Scott Patterson were invited into Cabbagetown townhouses for wine & cheese tasting to classical music from audiophile hi-fi.
Maksymilian Kapelański practiced as a church and religious service musician in 1992-1993, 2002 and 2012-2013. He worked in Toronto and Montreal on a professional basis for the United Church, Roman Catholic Church, and Anglican Church, providing his services as permanent, substitute, and on-call musician. His instruments were the pipe and electric organ, piano, keyboard and synthesizer, played solo and as accompaniment. In addition to standard repertoire and the classics, he was called on to perform his three electronic miniatures (including “Nuclear Church”) at St. Patrick's Basilica in Montreal.
1991-1992 was a time of three recording sessions by Kapelański at the Royal Conservatory of Music in Toronto. The piano repertoire consisted of works by Bach, Mozart, Chopin, Debussy, Bartók, Pépin, and others. The recording took place in the newly built Remenyi Room and the venerable Concert Hall, using Digital Audio Tapes (DAT) later transferred to SONY UX-Pro cassettes.