The SPEL Tour

Claire, Zubin, Lamorna, Jason playing in rehearsal shed setting.

Presented by our sister organisation in the west, TURA New Music, Ensemble Offspring brings a program of all-female works to Perth for performances at the Subiaco Arts Centre, and for the first time at Albany Entertainment Centre.

The ensemble will also work with four especially chosen composers from local universities, WAAPA and UWA, on their new works for the group, and will present these pieces in performance at the Subiaco Arts Centre.

Ensemble Offspring presents a hard-hitting program exploring nostalgia and adventure, love and life. Featuring a world premiere, Blackbird Song, by long-time collaborator, Dutch based Australian sensation Kate Moore, a first-time performance of new Composer in Residence for the Chicago Symphony, Missy Mazolli’s, piano solo Orizzonte, a remount of Love in Solitude by Merlyn Myer Commission recipient Andrea Keller, and Felicity Wilcox’s composers cut of Jean Luc Goddard’s 1962 film Vivre sa Vie.

Performances

September 10-18, Albany & Perth

Concert 1
Tuesday 11 September, 7:30pm
Subiaco Arts Centre

Workshop 1
Wednesday 12 September
Subiaco Arts Centre

Concert 2
Thursday 13 September, 7pm
Subiaco Arts Centre

Concert 3
Saturday 15 September, 5pm
Albany Entertainment Centre

Workshop 2
Sunday 16 Sep, 10am
Albany Entertainment Centre

Program

Kate Moore – Spel (2018) for vibraphone, 8’
Andrea Keller – Love in Solitude (2017) for flute, clarinet, percussion, piano, backing track 15’
Missy Mazzoli – Orizzonte (2004) for piano 6′
Kate Moore – Blackbird Song for flute, clarinet, percussion 10′
Felicity Wilcox – Vivre sa vie, Composer’s Cut (2017) for flute, clarinet, piano, percussion, video 15’
New student works (WAAPA & UWA)

Program_Notes

Performers

Claire Edwardes (percussion)
Jason Noble (clarinet)
Lamorna Nightingale (flute)
Zubin Kanga (piano)

With thanks to our Noisy Egg Creation Fund donors for supporting Blackbird Song, and to the Australia Ensemble for commissioning Vivre sa vie.

Presented by TURA NEW MUSIC

Critical Acclaim

“In accordance with the increasing push for improved female representation in art-music, four female artists composed the five pieces featured in the program, while the ensemble itself consists of two women and two men, with Claire Edwardes the ensemble’s artistic director. This is proof (though none at all is needed) that there is enough repertoire by women for music programming to include many more works by them.”

“The stand-out piece is Andrea Keller’s Love in Solitude, performed by the whole ensemble… Halfway through, the live instruments come to the fore forcefully and percussively, breaking up the sense of a scattered field of materials and offering a more urgent set of motivic forces.”

“Ensemble Offspring provided a delightful night of well executed works.”

Jonathan W Marshall, seesaw.

“Ensemble Offspring performed a powerful program of works by women composers at Subiaco Arts Centre on a quiet Tuesday night – a perfect way to spend the evening.”

Led by the all-amazing percussionist Claire Edwardes, the concert kept its audience entertained from beginning to end. Throughout the concert, every instrument could clearly be heard and there couldn’t have been a more perfect balance between vibraphone, piano, flute, and clarinet to warm your ears.”

[On Blackbird Song (World Premiere 2018) by Kate Moore]: “As the vibraphone sang its course with the wind instruments supporting it, audience members closed their eyes to absorb the relaxing energy that the performers provided. This very combination of instruments really makes it feel like something is hugging you from the inside, like drinking a satisfying hot chocolate.”

[On Orizzonte (Australian Premiere 2004) by Missy Mazzoli]: “The sine tones ringing above the gentle piano had an outstanding effect, not to mention that it was hard to take your eyes off the pianist, Zubin Kanga, with his ability to capture you in his playing. Soft, yet intriguing.”

“Edwardes managed to keep the audience engaged with her awesome, flawless playing, something that is very hard for any performer to achieve.”

“Something that Claire Edwardes asked in the middle of the concert really got the audience thinking. “Is there such a thing as feminine-sounding music?” All the pieces I heard this night are powerful, and nothing short of amazing. It is nice to see a programme full of women composers, something we are still lacking of nowadays.”

Germaine Png, X-PRESS MAG