Broken Consorts

Ensemble Offspring, Sydney’s champions of the new, and Ironwood, trailblazers for the early, invite you to a breathtaking world of sound. Like floating through a forest, Broken Consorts will envelop you in a cocoon of bristlings, warblings and ethereal reverberations—a musical experience that exists across and beyond time.

Hear what happens as Ensemble Offspring and Ironwood mix and match old and new sounds, with works by Australian composers Mary Finsterer, Damien Ricketson, 17th century English works by William Lawes and Matthew Locke, and a world premiere by Australian Felicity Wilcox.

Read the Broken Consorts tour blog here.

Past Performances

Hobart Baha’i Centre Auditorium, 7:30pm Friday 20th February
Burnie Regional Gallery, 2pm Saturday 21st February
Melbourne fortyfivedownstairs, 6:30pm Monday 23rd February
Sydney Utzon Room, 3pm & 6pm Saturday 28th February
Newcastle Museum, 3pm Sunday 1st March


Felicity Wilcox – Uncovered Ground (WP) Watch video
Mary Finsterer – Silva Watch video
Damien Ricketson – Trace Elements Watch video
William Lawes – Royal Consort Watch video
Matthew Locke – Broken Consorts Watch video
Matthew Locke – Tempest Suite Watch video


Zubin Kanga (piano)
Jason Noble (clarinet)
Lamorna Nightingale (flute)
Claire Edwardes (percussion)
Nicole Forsyth (viola)
Julia Fredersdorff (violin)
Veronique Serret (violin)
Daniel Yeadon (cello)


Broken Consorts Program

Media & Acclaim

“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
“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
“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
“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
“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
“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
“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