3 different musical groups in composite.

Ensemble Offspring joins two other celebrated international art music ensembles – International Contemporary Ensemble (New York/Chicago) and Ensemble Adapter (Berlin) – for a surround-sound concert in the vast Casula Powerhouse turbine hall.

Experience the work of expatriate Australian composers Kate Moore and Natasha Anderson, performed with amplified classical instruments and electronics inside a decommissioned power plant.

Moore’s award-winning industrial chamber composition The Dam showcases her inimitable swirling rhythmic sound world, while Anderson’s experimental ensemble work Suppression uses spatialised electronics, processed samples and live instruments to create a soundscape of refracted sonic mirrors.

Opening the performance is choral composer Alice Chance’s communal sound art project Audience Choir. For this participatory choral experience, Alice Chance has created a Sonic Identity Quiz for members of the audience to download on their mobile phones, unlocking one of sixteen sound files that build an immersive sonic world. As choir master, Alice then teaches the audience simple, canonic melodies to sing back to her, creating a unique, evolving soundscape.


January 12 & 13, 5pm & 2pm, Casula Powerhouse Arts Centre
$45 ($25 concession) + booking fee


Alice Chance – Audience Choir (2018) for mobile phones and audience 15′
Natasha Anderson – Cleave for 12 players (World Premiere) 25’ supported by the APRA AMCOS Art Music Fund
Kate Moore – The Dam for 12 players (World Premiere version) 15’ winner of the Matthias Vermeulen Prize


Ensemble Offspring
Claire Edwardes (percussion)
Lamorna Nightingale (flute)
Jason Noble (clarinets)
Jacques Emery (bass)
Chris Pidcock (cello)
Zubin Kanga (piano)
Alice Chance (voice)
International Contemporary Ensemble
Josh Modney (violin)
Maiya Papach (viola)
Ross Karre (percussion/conductor)
Ensemble Adapter
Kristjana Helgadóttir (flute)
Ingólfur Vilhjálmsson (clarinet)
Gunnhildur Einarsdóttir (harp)
Matthias Engler (percussion)

Supported by APRA AMCOS Art Music Fund for Suppression and the  Matthias Vermeulen Prize for The Dam.