Spectral Tech

Post image for Spectral Tech

Shards of sound and jagged rhythms envelop your ears and tickle your feet as Ensemble Offspring brings to life the wild and uncompromising squiggles of local composers Alex Pozniak, Tristan Coelho and Holly Harrison.

With sound worlds so distinctive, we needed to coin a new name for their music. We’re calling it “Spectral Tech”. The virtuosic musicians of Ensemble Offspring get down and dirty with these three premieres alongside an ensemble favourite, Thirteen Colours of the Setting Sun, by French spectralist, Tristan Murail. Roland Peelman conducts for this immersive sound sensation at the Sydney Conservatorium.


September 29, 7pm, Music Workshop, Sydney Conservatorium

Spectral Tech Program

Listen to the ABC broadcast here.


Tristan Coelho – A line is a dot that went for a walk for vibraphone (World Premiere) 10’
Holly Harrison – Bend/Boogie/Break for flute, clarinet, violin, cello, percussion, piano (World Premiere) 10’
Alex Pozniak – En Masse for flute, clarinet, violin, cello, percussion, piano (World Premiere) 20’
Tristan Murail – Thirteen Colours of the Setting Sun (1978) for flute, clarinet, piano, violin, cello 13’


Roland Peelman (conductor)
Véronique Serret (violin)
Rowena Macneish (cello)
Claire Edwardes (percussion)
Zubin Kanga (piano)
Jason Noble (clarinet)
Lamorna Nightingale (flute)

Critical Acclaim

“When it comes to championing new music, Ensemble Offspring walks the walk.”

“In a music industry that can often feel impenetrable — most of all for marginalised voices — its mission is not just honourable, but essential. In other words, it is not just doing the right thing, it is doing what’s necessary for the survival of new music in Australia.”

“…But there was more than an ounce of individual brilliance in there, too. All backed by a different, static light display, and impeccably presented by the ensemble, the compositional nuances in each work were really allowed to shine.”

[On Alex Pozniak’s En Masse]: “The players were completely concentrated on those interplays from start to finish. From Jason Noble’s expressive interjections on the clarinet to Edwardes’ exacting work on percussion, En Masse was a taut, energising experience…The creation of work untranslatable into genre confines is essential to maintaining the spirit of innovation intrinsic to new music – the same spirit that Ensemble Offspring embraces and does so very much with.”

Mark Bosch, Cut Common