Hatched 2017 – hear from the participants

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The Hatched @ The Red Rattler concert saw the culmination of the 2017 Hatched Academy, showcasing the talents of each of these young artists. Join us 7pm, Wed Sept 27 at The Red Rattler Theatre, 6 Faversham Street, Marrickville.

Over the course of the year the 2017 Hatched academy participants (Ciaran Frame (NSW composer), Luke Carbon (VIC clarinet + sax), Jasmin Leung (QLD composer) and Kieran Welch (QLD viola)) have been working with Ensemble Offspring and guest mentors, Cathy Milliken and Jessica Azsodi, developing both skills in compositional and performance techniques as well as practical skills across areas such as project development, programming and funding.

Scroll on to hear from the participants and gain insights into their Hatched journeys.

jasmin wing-yin leung

Jasmin Wing-Yin Leung is a composer, erhu player and improviser. Her work is focussed on the possibilities of sonic and extra-musical phenomena during the live generation of music.

Read Jasmin’s Hatched Academy report below
Written 4th September

Ways of Working
images + unstructured text

Composing a new work for Ensemble Offspring has shifted the parameters in my practice of making music. Suddenly, I find myself in a situation navigating between;

1. facilitating sonic events for situational music, or intercultural musics in my immediate community; and
2. creating a message-in-a-bottle for music making outside of my immediate community

How can I find a way to translate my ideas, whilst also coming to terms with the authoritarian role of the composer? This role does not fit me well, yet hiding behind the facade of graphic notations and almost-free improvisations is perhaps even more dangerous. I am not interested in aiding the disillusion of finding freedom through music. So, I will take this opportunity to find if I can work in this ‘authoritarian’ role. I think the first step in making this situation acceptable is to be honest about it. And to find a better understanding of where my small heart sits amongst the baggage of art music I have surprisingly inherited. Only once I was able to grasp these concepts could I think about how to compose this piece. The music is already there, my doubts were only about the ways in which it would happen.

I have increasingly observed that people are not pianos, and spent a long time refining the ways in which I work with others – the way we self-organise, the transformative nature of group music making etc. But I also have fallen in love with the possibilities found in well-trained hands who work with skill and intent. Magic like just-intonation and complex forms come at a price, and I think only now am I brave enough to pay. True craftsmanship is a rare and precious resource, and I think it is incredible that Ensemble Offspring are able to offer their skills. And I feel increasingly thankful that I am able to realise my sonic desires through them.

The result is a music that is specific. A Flaschenpost. But I do not want to isolate the music from the humans that will make it and ingest it. Here, I offer a possible way to make music of this nature, and I look forward to September, where I will find if my experiment can be realised.

Luke Carbon

Luke Carbon is a Melbourne-based clarinet, saxophone, and woodwinds player with a passion for new music and new venues.

Read Luke’s Hatched Academy write-up below
Written 13th September

I’m standing at the back of a crowded gallery space in Darlinghurst watching a dear friend of mine and a fellow Hatchling perform Missy Mazzoli’s ‘Tooth and Nail’. The space is properly packed, standing room only, and as I listen to his viola sing out across the room, I’m thinking about the music that I will perform after he’s taken his bows. I’ve never performed Kaija Saariaho or Eve de Castro-Robinson for an audience before, and I’m a little nervous about how I will play and how it will be received by this crowd of attentive listeners. At the back of my mind, as I select a reed, get my breathing under control, and keep an eye on my blood sugar, I reflect that I wouldn’t even be here to share and to give if it weren’t for Ensemble Offspring and the Hatched Academy. My repertoire tonight is a direct result of their influence, the way that I present myself on stage and interact with the audience a reflection of the innovation that they bring to the field of new music performance. I play, everything goes more or less according to plan (although I’m told I spoke too fast).

Ensemble Offspring is at the forefront of Australian art music practice, and the chance to spend some time with them throughout the year as a member of the Hatched Academy has been an outstanding opportunity to meet new people, to consider new ideas, and to grow both as a musician and as a person. Music of this nature should be challenging and at times affronting. Its practitioners should be firecely passionate and immensely proud of what happens within rooms like the one in Darlinghurst, and being a Hatchling means to watch this happen at the highest possible level. New music is an incredibly vast ocean, and I feel lucky to have sailed for a time on the good ship EO and learned from its crew, each of whom have something unique to offer to those still finding their sea legs.

For me, Hatched has been a differently-angled beam of light shining through the prism of my musical identity, making different colours dance on the wall. I am grateful for the experience, and excited about our last concert in September when I will have the opportunity to share and give again.

Kieran Welch

Kieran Welch is a violist, curator, event producer, DJ, teacher and writer. He combines this diverse, yet complementary set of skills with a passion for presenting a wide range of musical genres to varied audiences, and a thorough training in classical viola performance.

Watch Kieran below talk about his Hatched experience


Ciaran Frame is a Sydney-based composer and media artist who enjoys tampering with sounds and playing with breadboards. He specialises in interactive installations and generative music.

Ciaran’s Hatched Academy Update
Written 3rd September
“Being an emerging composer in the very early days of developing my musical output and direction, opportunities like this are invaluable, and often few and far between. In many ways, the ‘experience paradox’ that people encounter when searching for jobs is even more extreme in new music. It is so vital to emerging composers such as myself to expose their work to different contexts, different places and different performances, but so much of this is often out of reach of composers just starting out.

Opportunities afforded to emerging composers from the likes of organisations such as Ensemble Offspring allow composers such as myself to find places their enthusiasms and passions lie within music. As undergraduate students, we tended to botch a lot of things – putting together misshapen and dubiously curated concerts in front of small crowds, often for our own enjoyment. That luxury taught us indispensable skills in a wide variety of areas, but it is a luxury that quickly gives way to the realty of new music in Australia. Finding places to expand our output are essential, and so far my experiences in the hatched program have been crucial in my way to finding my voice in the big wide world of professional new music.

Following a period of creative brainstorming and finding my conceptual basis for the work, I’ve been working with composer Cathy Milliken. Cathy has brought a wealth of experience from a mind-boggling number of fields and perspectives, helping me work through elements of the work that I’ve been struggling with. In particular, we’ve been working on balance and virtuosity within the ensemble, and how I can effectively find a happy medium between my conceptual/technical goals and the actual notes on the page.

More recently, I’ve had the chance to workshop some drafts with some of the players, ironing out issues with notation, readability and general communication of articulation and tone colour goals. This immediate and indispensable feedback has really proved useful in the days following the workshop, allowing me to really fine tune the notation and concept based on the difficulties, and hopefully leading to a smoother rehearsal period – all of which will be revealed in the intensive weeks ahead!”

Ciaran on his new work in progress – Listeners As Spectators
Written 3rd September
“I’m currently working on a piece entitled Listeners as Spectators, as part of Ensemble Offspring’s Hatched Academy. The work is an exploration into the importance of sight and colour in music listening. In it, I am augmenting players’ performances with LEDs, sometimes aiding and sometimes hindering the digestion of interwoven textures and motifs in music. But light in music is nothing new, so what am I bringing to the table?

In order to expand on work in this field, I am hoping to bring three new features to this rich compositional tradition. I feel that much of what has already been achieved in this area does not go far enough in terms of three key areas – areas which I am looking to improve on in the following ways:

– Creating a work that has a foundation in previously conducted research – in this case, using the idea of audio-visual comparison and integration as a basis for the inner-workings of the piece
– Focusing specifically on the tradition of chamber music and the sounds it is associated with, and applying them in unorthodox performance contexts
– Taking the idea of association and dissociation to audio-visual extremes

– ‘Ground up’ software and hardware design that is specifically tailored to this work, using methods that don’t hinder the natural performance of the music itself
– Augmentation of the performance, not a technical structure that determines it
– No click-track (which often has the tendency to stunt expression and flexibility, both of which I feel are key to the work)
– Using new and untested (as of yet!) technology with professionals in Ensemble Offspring who are wonderfully open to new techniques and performance methodologies

– Using colour within the performance of the work itself (e.g. the numerous ‘colour scales’ used by countless composers across the 20th Century)
– Can provide the bridge between JUST light and JUST motif (like between the two exmaple works)
– Colour theory

Read Ciaran’s full article here

Supported by

The Hatched Academy is supported by the APRA AMCOS Music Grants Program and RØDE Microphones.