Music / Ngarra-Burria, Ensemble Offspring. At Street Theatre, November 1. Reviewed by ROB KENNEDY.

The importance of storytelling through unique styles and arrangements of First Nations peoples music was sung out in a fascinating concert at the Street Theatre.

Ngarra-Burria are Dharug words meaning “to hear, to sing”. Christopher Sainsbury, local indigenous composer and associate professor in composition at the ANU School of Music, launched this initiative in 2016. His opening address spoke of the project.

This annual program serves as a stage for First Nations musicians to improve their composition skills and network within the art music field. Through this shared experience with Ensemble Offspring, they and audiences get to develop a greater appreciation of the culture and traditions of First Nations peoples.

Ensemble Offspring came up with a wonderful idea to present a short, improvised piece as a welcome to country. The players were Claire Edwardes, percussion, Lamorna Nightingale, flutes, Jason Noble, clarinets, Rowena Macneish, cello.

Opening the concert with a work title Lotte, by Gary Watling, this mellow, tranquil work that is a dedication to the composer’s partner, got the show started in an oh-so beautiful way. This charming love song expressed much adoration through its tonal tune.

Then, Nicole Smede’s Djeera Gadhu (Ocean Stories) (2024). In a work that connects sea, land, and sky, began with a short repeating phrase on the cello. In a particularly well scored piece, the music crossed from a pleasing tune to effects on the bowed vibraphone, while the other instruments slid in and out. Most pleasing. The composer in the audience took a bow.

Eric Avery’s Gliding (2020) followed. Back and forth, the instruments crossed each other. It represented the effect of gliding so well, particularly on the cello.

Brenda Gifford’s Bardju (Footprints) (2017) and her Gambambara (Spring) came next. Sounding like something out of a Pink Panther movie, the jumpy happy tune of Bardju had several elements mixed through its composition. Nature sounds and jazzy riffs filled its neat construction.

Gambambara, with clapsticks and vocals, the title of the work was whispered between players. It crossed between a vocal and an instrumental piece.

Nardi Simpson’s Of Stars and Birds (2020), for flute, clarinet, and vibraphone, is an introspective tale; delicate, playful and attractive.

The Rains (2020), by James Henry for all four players, sang out the feeling of rain sounds. While quite complex, it left a sense of mystery.

With the composer in the audience, who also helped with the welcome to country on cello, Gabriel Fromyhr spoke about his experience of writing his Interwoven Worlds (2024) while performing in Germany for the Canberra Bach Ensemble in the 2024 Bachfest Leipzig. An airy work with driving rhythms and tunes that reminded me of either Jewish or Russian melodies, and this ‘interwoven’ into a smart composition that showed the makings of a highly inventive composer.

Canvas (2024), by Adam Manning represents the process of creating a painting. The sounds of an artist’s studio are embedded in the opening and closing. In all that, there were inspiring sounds emanating from the quartet. A most original idea and sound world.

Finishing off this fresh and fascinating concert, a piece titled Ailan Opping (2020), as in island hopping. It reflected The Torres Strait Islands, and how it is home, and loved by the composer, Will Kepa, who was in the audience and took a bow along with all composers and players.