Lone Hemispheres

Lone Hemispheres features chamber musicians as soloists in works inspired by masterpieces of the European avant-garde. Performing alone yet moving within each other’s orbit, Lamorna Nightingale (flute), Jason Noble (clarinet) and Claire Edwardes (percussion) explore harmonious solitude in world premieres by Damien Ricketson, 2017 Noisy Women Commission recipient Elizabeth Younan and local composer, Tristan Coelho. These new Australian works comment on and are framed in concert, by classics of the genre by Franco Donatoni and Luciano Berio.


Thursday 7 November, 7pm, Carriageworks
Tickets $35 + booking fee.
See Facebook Event >>


Franco Donatoni – Soft (bass clarinet solo) 13’
Elizabeth Younan – Fantasia for Solo Flute 7’ (2018 Noisy Women Commission) WP
Tristan Coelho – A Line is a Dot that Went for a Walk (vibraphone solo) 12′
Damien Ricketson – Borderlines (clarinet solo) 7’ WP
Luciano Berio – Sequenza 1 (flute solo) 7′
Franco Donatoni – Omar (movt 1) (vibraphone solo) 7′


Jason Noble (clarinet)
Lamorna Nightingale (flute)
Claire Edwardes (percussion)

Creative Director
Michelle St Anne – The Living Room Theatre



“…the evening was a smooth,cool unfolding of delicate and virtuosic works in Carriageworks’…”
Mark Bosch, CutCommon

“…this was a satisfying evening of elaborate solo instrumentalism.”
Mark Bosch, CutCommon

“The organic naturalism of the cellular growth of Donatoni’s Soft (1989) for bass clarinet—warm, velvety, brief utterances, each progressively more expressive, with small swellings,flourishes, deep recurrent punctuations, numerous rippling ascents and a final vertiginousride down—is deeply engaging in Jason Noble’s riveting performance.”
Keith Gallasch, RealTime

“Nightingale eloquently met the challenging pace and pitch changes of Berio’s Sequenza I(1958), not least in the deep trilling and high fluttering, amid lucid long notes, in thethrilling last third or so of the work.”
Keith Gallasch, RealTime

“Ensemble Offspring’s lone hemisphereswere made whole with the soloists’ dextrous execution of Italian modernist classics andcompelling Australian works by composers who embrace past innovations while cogentlypursuing their own.”
Keith Gallash, RealTime

Read the review from Cut Common here >>>
Read the review of RealTime here >>>


With special thanks to our Noisy Egg Creation Fund and Noisy Women donors