2015 Quotes & Reviews

Quotes 2015 the secret noise katia 600 x 180

“The result was a fresh and stimulating blend of the old and the new.”

“Throughout, imaginative scoring for Ensemble Offspring’s Lamorna Nightingale (flute), Jason Noble (clarinet), Zubin Kanga (prepared piano) and the marvellous percussionist Claire Edwardes, brought many delights.”

Peter Donnelly, The Mercury (Broken Consorts, Hobart)

“Their real genius was their treatment of the music: 17th century pieces seen from a 21st century perspective…The bowed vibraphone was eerie, the bass clarinet didgeridoo-like and it took me to the Australian bush. Was it intended to? It doesn’t matter. The piece was commissioned by Ensemble Offspring. I’m glad they did.”
Stewart Jackel, Albert’s Wars (Broken Consorts, Melbourne)
“While the reimagined early and modern works provided an engaging comparison of instrumental timbres, Wilcox’s piece went furthest towards a genuine exploration of new and early musics’ shared emphases on gesture and rhetoric.”
Matthew Lorenzon, Partial Durations (Broken Consorts, Melbourne)
“This collaboration between Ensemble Offspring and Ironwood offered many delights, all enhanced by the introductory chats from percussionist Claire Edwardes and composers Felicity Wilcox and Damien Ricketson…There were delicate tunes, compelling rhythms and some moments of quiet contemplation, all rounded out by a blaze of percussive glory…A most unusual concert, with much to savour and plenty of surprises.”
Margaret Steinberger, classikON (Broken Consorts, Sydney)
“This was an exceptionally beautiful performance by Ensemble Offspring and Ironwood Chamber Ensemble. A collaboration of like-minded musicians offering yet another new insight to modern musical performance for today.”
Alison Evan, Sounds Like Sydney (Broken Consorts, Sydney)
“These musicians need to be flexible, openminded, versatile and fearless, as well as virtuosic. And, happily, they prove to be. I like to think of them as ‘free radicals’, reversing the aged patina of early music, while bringing panache to the new…It was a splendid repertoire, expertly and lovingly performed. I wish and want for more.”

On Ricketson’s Trace Elements: “It’s thirteen-odd minutes of haunting, tormenting, fearsome, fearless semi-improvisation, as creepy as a midnight walk, alone, through a graveyard.”

On Finsterer’s Silva: “There’s a gamelan-like ambience, punctuated, interrupted and disturbed by jazz, classical and even tuning tropes. I was riveted.”

Lloyd Bradford Syke, Syke on Stage (Broken Consorts, Sydney)
“This collaboration has no shocking or unpleasant results. There is no jarring J.S Bach on the moog synthesizer here. The calibre of performers and thought behind the selections of music will ensure future concerts and recordings of this ilk are equally successful and consumable as a timeless twenty-first century treat.”
Paul Nolan, Sydney Arts Guide (Broken Consorts, Sydney)
“Sizzle offered a challenging, vibrant exploration of sounds and music in a fun, relaxed atmosphere. The format, which allowed the audience members to choose their own level of involvement, enticed the listeners to engage and interact with the music – a very different experience to being ‘force-fed’ in a concert hall! Sizzle left the audience not only open, but looking forward to whatever comes next from Ensemble Offspring.”
Angus McPherson, Cut Common (Sizzle, Sydney)
“A World of Glass…was one of the most exciting listening experiences I have ever enjoyed.”
Jennifer Gall, SMH (A World of Glass, Canberra)
“The ensemble rose to the occasion with spirited and exciting versions (of Glass’s works)…[Music with Changing Parts] was played with such effervescent joy by Ensemble Offspring that…the music became transcendental, following the path of the earlier works with their turbo-charged rhythmic propulsion, yet now with an overlay of free floating elements that danced in and out and around. This was Glass’ music at its finest!”
Jim Cotter, CityNews.com.au (A World of Glass, Canberra)
“I loved this gig. I’d been bathed in beats and crossing rhythms of few, repetitive notes and tapped my foot dry (most just sat still, this being a classical audience, but how could you not move to those deliciously abstruse beats), absorbed some beautiful tone and voices and meditated on this all.”
Eric Pozza, Canberra Jazz Blog (A World of Glass, Canberra)
About Michael Gordon’s Light is Calling: “…devastatingly interpreted by Ensemble Offspring’s Veronique Serret.”

About Nico Muhly’s It Goes Without Saying: “Noble transfixed the audience with the hypnotic clarinet part.”

About Damien Ricketson’s Fractured Again Suite: “…Damien Ricketson’s magnificent Fractured Again Suite…draws inspiration from the physical properties and sound of glass…The rapid opening resembles an off-kilter clockwork automaton racing towards self-destruction.”

Matthew Lorenzon, Partial Durations

(Light is Calling, Melbourne)

“Is there anything this group won’t take on?”
Matt Wakeling, Cyclic Defrost

(Musify+Gamify, Sydney)

“This packed-out concert presented spring’s ongoing progeny and Offspring’s co-artistic director Damien Ricketson’s​ enduring legacy of renewal.”
Peter McCallum, SMH (Future Retro, Sydney)
“EO champions innovation, invention & adventure, epitomising all that is unconventional. It hasn’t merely pushed the envelope, but has created (if you will) a whole new cache of stationery.”
Lloyd Syke, Syke on Stage (Future Retro, Sydney)