Generations converge as Ensemble Offspring pits Artistic Director and leading percussionist Claire Edwardes against up-and-coming instrumental talent Georgina Oakes.

Claire performs a set of colourful percussion solos, written in collaboration with emerging female composers. Alongside her will be Ensemble Offspring’s first-ever Associate Artist, clarinettist Georgina Oakes, who returns from 10 years in Europe to wow us with her new music pedigree working with the likes of Pierre Boulez and Tristan Murail. We can’t wait to welcome her on board. You’ll want front row seats for this exhilarating tilt at future sounds featuring gongs, drums, winds and even recited text.


June 24, 3pm, Utzon Room, Sydney Opera House


Ella Macens – Colour Burst (2017) for percussion 6’
Dobrinka Tabakova – Frozen River Flows (2005) for clarinet & vibraphone (Australian Premiere) 6’30
Pierre Boulez – Domaines (1968/9) for clarinet 9′
Michael Smetanin – Ladder of Escape (1984) for clarinet 4’
Michael Smetanin – Temple (2015) for temple blocks (Australian Premiere) 4’
Elizabeth Younan – Electors of Middlemarch (2018) for drum set up & voice solo (World Premiere) 8’
Christopher Fox – Reeling (1983) for clarinet & hi-hat cymbal 6’30

Download the full program notes


Claire Edwardes (percussion)
Georgina Oakes (clarinet – Hatched Academy Associate Artist)

Critical Acclaim

“A heroic performance by Edwardes.”

“Ensemble Offspring never fails to deliver exciting programs and vibrant performances…Beginnings to New Ends was no exception.”

[On Domaines by Boulez]: “Oakes cited a teacher in Paris likening the music to cats – creeping and pouncing – and there was certainly a feline flexibility to her sound as she traversed lithe, angular gestures, warbling timbral effects, purring multiphonics and growling flutter-tonguing.”

[On Temple by Smetanin]: “Edwardes dispatched the work – written for five temple blocks, Edwardes contributing her own cadenza – with virtuosic precision, the polyrhythms clean and precise while fast tremolos, produced with sticks rattling inside the blocks, created haunting sustains.”

Angus McPherson, Limelight