LONG PLAY FESTIVAL
Ensemble Offspring heads to the Big Apple as a featured ensemble at Long Play Festival in Brooklyn, New York City for our USA debut. Presented by Bang on a Can, this three-day festival includes over 50 performances taking place in diverse venues across downtown Brooklyn.
DETAILS
2-4 May, Brooklyn Academy of Music, New York
Ensemble Offspring travels to New York for the first time to showcase the unique talents of our very best Australian composers and performers across two exciting programs. The first will showcase Australian composer Kate Moore, with our favourite works she’s written for the ensemble as well as the premiere of a brand new quartet entitled Rose of Roses, Flower of Flowers inspired by Cantigas de Santa Maria a collection of 13th century songs where, intoxicated by the aroma of a rose, the nightingale, sings itself to death.
The second program features works from iconic 20th century composer Iannis Xenakis alongside Australian composers Brenda Gifford (Yuin Country) and Felicity Wilcox. Ensemble Offspring will be joined by guest New York based musicians Clara Warnaar (percussion) and Amanda Gookin (cello) for these performances.
PROGRAM 1
KATE MOORE - Fern (2012)
KATE MOORE - Blackbird Song (2018)
KATE MOORE - Synaesthesia Suite (2014)
KATE MOORE - Joyful Melodies (2024)
KATE MOORE - Rose of Roses, Flower of Flowers (2025) *
* World premiere
PROGRAM 2
IANNIS XENAKIS - mikka/mikka S (1971/1976)
IANNIS XENAKIS - Charisma (1971)
IANNIS XENAKIS - Rebonds b/a (1987-1989)
CLAUDE VIVIER - Piece for violin and clarinet (1975)
FELICITY WILCOX - People of this Place (2016)
BRENDA GIFFORD - Mungala (2018)
PERFORMERS
Claire Edwardes (Artistic Director, percussion)
Lamorna Nightingale (flute)
Jason Noble (clarinet)
Véronique Serret (violin)
Clara Warnaar (guest percussion)
Amanda Gookin (guest cello)
“Ms. Moore, a young Australian composer based in the Netherlands, creates alluring textures with acoustic and electronic elements.”
“Edwardes’ sheer focus over the course of this long piece (‘Joyful Melodies’) was spectacular. With her teeth gritted and brow furrowed in concentration, Moore’s music became drama. This is the ‘painful’ kind of joy Moore was portraying, I am sure. ”
