’Music for percussion is about expression, rhythm, sound, harmonics, emotion. In this concert, the ‘sorceress of percussion’, Claire Edwardes, delivered all those qualities, and more besides, in spades, enchanting her capacity audience with sounds they weren’t expecting and perhaps did not even know existed….Edwardes created an extraordinary range of colour, light and shade, fading to literally nothing and giving way to enthusiastic applause.’ Clinton White, Limelight Magazine (The Power of One, CSO)

"There’s a lightness of touch that invites curiosity and attention...All the tension that has been built up through the performance is released in a cathartic blast of beats...The pay off was brilliant, but getting there was delightful." Alison Croggon, Witness (Recital, Dance Massive)

‘Recital culminates in a thrilling and dynamic conclusion with Edwardes on drums and Cilli in an exhausting, explosive and frenetic solo. Recital is an exhilarating performance throughout.’ Lynne Lancaster, Arts Hub (Recital, Riverside Theatres)

’In about an hour, we are entertained and engaged, fascinated and amused, as two virtuosos in their respective fields play with a juxtaposition of rhythms and seem to enjoy the process as much as the audience.’ Elizabeth Ashley, Dance Informa (Recital, Riverside Theatres)

‘Meanwhile, the undoubted highlight of the free program in the city was Robin Fox’s laser and music show in Albert Hall, held both Friday and Saturday night, with the event closing on Saturday night at 11pm with a special live performance by Ensemble Offspring. There were 5 parts to the performance, which featured drums and the harpsichord, primarily, and proved an incredible experience.’ Larry Heath, The AUReview (Polytopes, Launceston)


“A heroic performance by Edwardes.” Angus McPherson, Limelight (Beginnings to New Ends)

‘Edwardes handled the complex relationship between voice (a stammering speech from George Elliot’s novel) and percussion (originally modelled on Xenakis’ Rebonds set-up, but with the notable inclusion of stinging hi-hat), with crisp confidence, the stuttering effects bitingly percussive rather than hesitant.’ Angus McPherson, Limelight (Lone Hemispheres)

‘Melbourne officially has a contender in the title for Australia’s cultural capital it seems, if the likes of Ensemble Offspring, under the charge of Claire Edwardes, has anything to do with it.’ James Banham, The F (Lone Hemispheres)

‘However, it was definitely Claire Edwardes’ show, from her vigorous marimba playing in the beginning, through to her amazing quasi-improvisational work on the steel drum, and everything in between.’ Philip Scott Limelight 4 Stars (MacMillan 2nd Concerto, SSO)

‘Australian percussionist Claire Edwardes was kept busy moving swiftly between different batteries of percussion  instruments and generating an intriguing and imaginative arrange of effects, colours and sounds.’ Murray Black, The Australian

‘Yet if a concerto, pitting soloist and orchestra in contest, is broadly a metaphor for the tension between competitive and collective action, his Percussion Concerto No.2, given an energetic and vividly engaged Australian premier by Claire Edwardes with the SSO under David Robertson, conveys an ultimately positive view of its possibilities.’ Peter McCallum, Peter McCallum 4 Stars

‘Edwardes gave a performance both captivating and precise….Edwardes deftly weaved between marimba, vibraphone, drums, untuned metal instruments, cencerros (tuned cowbells) and steel drum across the work’s sections, the concerto reaching its climax in a powerful brass chorale, Edwardes glittering on aluphone and vibes.’ Angus McPherson, Limelight 4.5 stars

"As Claire Edwardes raced from one instrument to another she gave the appearance of flying mercury….And through it all, the mercurial Claire Edwardes legged around the stage, grabbing hammers, reaching across to whack meal cylinders that could have come straight from Bunning’s, her right heel crunching down on a hinged pedal to thump a drum behind her.” Fraser Beath McEwing, Jewish News (MacMillan 2nd Concerto, SSO)

'A glimmering solo performance by Claire Edwardes of Vermont Counterpoint on vibraphone and xylophone.' Angus McPherson, Limelight Magazine

'Percussionist Claire Edwardes’s scintillating account of Vermont Counterpoint illuminated its contrapuntal intricacies.' Murray Black, The Australian

'The world premiere of Raqad for marimba, by Paul Stanhope, glittered with irresistible rhythms.' Jessica Duchen, Limelight Magazine

Clairaudient CD - 4 stars SMH "Clairaudience. Noun. The supposed faculty of perceiving, as if by hearing, what is inaudible. (Compare Clairvoyance)." The fifth solo release of percussionist extraordinaire and new music maven Claire Edwardes features six collaborative works created by an intersection of composers, performers, poets, artists and architects. This is not something to throw on while you're cooking dinner: it's an immersive hour which demands (and rewards) active listening. Most of the sounds come from Edwardes and her glorious toolbox of timbres, but the acoustic tangs and bings are threaded with layers of electronica to create a rich and confusing sound world. Am I imagining Edwardes faintly humming? Or is it a digital modification of the acoustic noises? A voice over? Or perhaps something more mysterious, something not really there …? Above all, there's more to this recording than meets the ear. Best experienced in a single sitting, Clairaudient takes you from Vincent Ho's delicate Nostalgia through to Steve Reich's dizzying Vermont Counterpoint, via the music poetry of Melody Eotvos, the dry, pacey Work from Marcus Whale/Tom Smith and Damien Ricketson's intro-extro-spective Time Alone. It's quite a trip. Harriet Cunningham, Sydney Morning Herald

Clairaudient CD - 4.5 stars Limelight Magazine 'Claire Edwardes has forged a formidable international career as a virtuoso percussionist...this album is named for the ability to hear sounds from the spirit world that are not audible to the human ear. It’s appropriate, as much of this extraordinary recording is quite otherworldly. Time Alone, by Damien Ricketson is particularly entrancing, shifting and shimmering through a textural landscape of echoes and overtones. Five works by Australian composer Melody Eötvös utilise electronics, poetry and unusual instrumentation to riveting effect. It’s also immediately apparent from the first bars of Nostalgia by Vincent Ho that this album has been beautifully recorded, the vibraphone's tones languidly glistening in space. This thoughtfully conceived collection is expertly performed and brilliantly realised with a subtlety that will repay repeated listenings.' Lisa McKinney, Limelight Magazine

Clairaudient CD - 'Edwardes’ recording of all the parts is a tour de force of precision playing, and her arrangement is, in my view, far more compelling than the original combination.' Michael Hannan, Loud Mouth

'Clariaudient is a fascinating collection of recent works for solo percussion and fixed-media electronic music, superbly interpreted by Claire Edwardes.' Michael Hannan, Loud Mouth

"Titled Stained Glass, Drury’s new piece for vibraphone and electronics began with the glistening sound of bowed and gently struck bars, the work shimmering into a wind-chime-like haze of glitter beautifully rendered and shaped by percussionist Claire Edwardes. In a shift of texture, Berio’s 1985 work Naturale saw violist James Wannan join Edwardes,..Deeply infused with folk idioms...this was a finely nuanced performance of what was perhaps the weightiest work on the program, Edwardes and Wannan finding a deft balance with the electronics and a thoughtful comraderie." Angus McPherson, Limelight Magazine

'Delivered by Edwardes in tandem with her percussion – this was complex, fragmenting work that saw rhythms and speech disintegrate in a heroic performance by Edwardes, halting speech and jittery tension building across the percussion until punctuated by bass drum in an anxious finale.' Angus McPherson, Limelight Magazine


'I heard your interview on the radio a couple of days ago, and absolutely loved it.  The tone and content of the whole interview was wonderful.
You are such an engaging, dynamic, principled and inspirational figure in Australian music.  Bravo for everything that you do for music and for all of us, both on the stage and off the stage!' Tim White and Defying Gravity (percussionists, Perth)

'Thanks, too,  for your sorcery, dedication, and for being such an inspiration to us Oz composers. How very much we need people like you - and how rare you are! Let’s (please) continue to make music together!' Ross Edwards (composer)

'The second movement, “No Man’s Land”, of Andrew Ford’s War and Peace(2004), is dominated by high-pitched intricate textures combining violin harmonics with percussion such as crotales, vibraphone, triangles and small gongs. It is mysterious but also very moving in its evocation of the terrors of the battlefield. For me this is the standout item of the Kammerbox release.' Michael Hannan, Loud Mouth, The Music Trust

“Although so much smaller in scale than the SSO, and braver than the Australian Chamber Orchestra, Ensemble Offspring offers a more incisive vision, consistent commissioning and engagement with new media and theatrical idioms that an increasing number of composers see as part of their remit. Equality of opportunity figures strongly too, evident in the ensemble’s 2017 program, entirely comprising works by female composers.”Keith Gallasch, Real Time

“It’s a ballsy move to open a concert of such uncompromisingly demanding (albeit beautiful) music with a work which systematically undercuts artistic pretention. But when you play these works with such persuasive articulacy, you can get away with pretty much anything. Bravi.” Harriet Cunningham, A Cunning Blog, Who Dreamed It?


"At one concert I witness the audience clap enthusiastically for Mozart but give a standing ovation for percussionist Claire Edwardes's powerhouse performance of Flash by Matthew Hindson. That reaction gives lie to the cliché about classical audiences being old and, by extension, conservative." NZ Herald, August 2016

“powerhouse playing from Edwardes.” The Australian, March 2016


“Golden Kitsch by Elena Kats-Chernin was a revelation...Claire Edwardes playing like a high priestess.” Canberra Times, November 2015

“Her absolute mastery of all things percussion was truly spectacular to watch...The performance was deservedly met with a standing ovation.” Limelight Magazine, July 2015

“Edwardes' virtuosity combined with Grandage's clever writing made for a particularly enjoyable aural feast.” The Age July 2015

“There are old and new friends to be found in Edwardes’ excellent recital. For American ears, Edwardes’ Australian English imparts a welcome slant on the spoken parts of the Rzewski and Sierra.” La Folia 2015

“Claire Edwardes has a beguilingly adventurous spirit & generous disposition. She communicates nothing but positive, healing vibes by way of her conspicuous and almost unique gift for finding the point at which theatricality and musicianship can happily co-exist." SOS January 2015

“an intriguing window into Edwardes' enterprise, energy and continuously renewing creative engagement.” Sydney Morning Herald, January 2015


“Edwardes, as usual, played and sounded like she had a symphony orchestra at her fingertips (or should that be mallet-tips?).” Sounds Like Sydney, October 2014

“played as ever with Edwardes’ capacity for finesse and passion - Xenakis’ music might be conceived in part algorithmically but Edwardes makes its beauty self-evident.” RealTime, July 2014

"Claire Edwardes was brilliantly edgy in Xenakis's Rebonds A/B.” Sydney Morning Herald, April 2014


“while Edwardes is a stylish and brilliant performer, she plays without fuss, moving apparently seamlessly between the...often a huge array of percussion. 4.5 stars” Arts Hub, October 2013

“To say she is virtuosic is redundant; she's more, transforming what must clearly look promising on manuscript paper into sonorous, shimmering aural opulence.”  Australian Stage, July 2013

“joyous gem of a percussionist” Sydney Arts Guide, June 2013


“Sorceress of percussion, Claire Edwardes, infused the performance with her particular magic. Focused, graceful and virtuosic...” Canberra Times, August 2012

“Edwardes performs all the music with great expression, enviable technique, and an unusually deep insight into all sorts of compositional styles and eras.” American Record Guide, June 2012

“the immensely talented Australian Claire Edwardes showed her mastery of a galaxy of instruments.” Dominion Post, Wellington June 2012


“The eye-catching percussionist Claire Edwardes.” Sydney Morning Herald, November 2011

“Edwardes colours everything she plays with exuberance, intelligence and sensitivity and offers us here a great percussion primer.” Limelight Magazine, November 2011

If it is impertinent to identify any of these as the stand out performer on the night, then certainly the one who most captures the attention was Edwardes. It highlights why is she is recognised worldwide as one of the most striking and important percussionists of her generation.” Kristof Raw, September 2011


“This is one of the best CD’s I have listened to this year...There are several aspects to this disc that mark it as unusually important. Firstly, it records some of Claire Edwardes’ best playing. The performances are assured, fluid, coherent (where necessary) and pleasantly, refreshingly straightforward.” Music Forum Magazine, May 2009


“Claire Edwardes' amazingly voluptuous percussion performance..” Adelaide City Messenger, 2006


“She plays everything cold bloodedly and exact but is never clinical or routine in her approach. Add to this her positive presentation and it is clear that she is the sort of musician who composers would be inspired by." NRC Handelsbad Amsterdam, 2005

“Edwardes’s enthusiasm was hard to resist...with spellbinding intensity” Sydney Morning Herald, 2005


“Edwardes produced a presentation that was electric from start to finish” The Age, 2004

“Edwardes’ strength and energy was breath-taking.” The Mercury, 2004


“Edwardes was a fine soloist and played with sensitivity and unusually focused concentration.” The Washington Post, 2001


“With elegant flexibility and empathy she managed to integrate with the orchestra, and to rise up from a confident manner.” Eindhovens Dagblad, 2000


“The winner, Claire Edwardes, played… with infectious brio and clear involvement...This was a gripping and professional display…” The Age 1999