Ensemble Offspring
Claire Edwardes, Percussion
& Artistic Director
Lamorna Nightingale, Flute
Jason Noble, Clarinets
Véronique Serret, Violin
Blair Harris, Cello
Benjamin Kopp, Piano
Roland Peelman, Conductor
0:00 Light for the First Time (Bree van Reyk)
This work is dedicated to my daughter. It imagines the experience of opening one's eyes for the first time, which occurs at around 28 weeks’ gestation. The unfolding of the piece reflects a desire to be able to relive that moment endlessly, in slow motion, as if bathed in the brand-new memory of light. The sound of breath alone gradually expands into a universe of vibrant sound and colour, and the core ensemble of musicians is augmented by echoes of themselves, ghosts of prior performances and imagined futures. – Bree van Reyk
10:06 Cranks and Cactus Needles (Annie Gosfield)
Cranks and Cactus Needles was inspired by the sound of ancient 78 RPM records, and the pops, scratches, skips, and warps that occur as they deteriorate. As to the title, "Cranks" refers to the crank handles of old record players that had to be wound up before a 78 could be played, and "Cactus Needles" are the sharp cactus spines that were sometimes used as cheap phonograph needles. The musicians are instructed to play the piece "distant and ghostly, like a victrola down the hall", and use uneven vibratos, imperfect repeats, and unpitched scrapes to evoke the decaying music of this anachronistic technology. The piece was commissioned for a premiere at ISCM World Music Days in Luxembourg by the Swedish ensemble "The Pearls Before Swine Experience", and developed with violinist George Kentros.– Annie Gosfield
16:34 En Masse (Alex Pozniak)
My piece En Masse is my response to a commission for a bigger piece of up to 30 minutes for Ensemble Offspring. The title refers to the idea of the ensemble working together in a unified mass, and the musical ideas explore notions of mass or heaviness. It is structured in three movements that follow each other continuously, following a general ‘fast-slow-fast’ pattern (the first was written in 2016, and the latter two in 2018).
The piano takes something of a central role throughout the piece through a focus on its rhythmic and resonant potential, which is expanded by the other instruments – for example, through its synchronisation with drums or with the other instruments generating overtones around it, as per the piece’s opening gesture.
It’s music that indulges in synchronised, mechanical rhythmic ideas; albeit within a continuous, flowing musical narrative, translating influences from the technologised soundworld from rock/metal music into an instrumental art music context. In other words, it’s me trying to write an epic piece for Ensemble Offspring that rocks out a bit! –Alex Pozniak
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