Above: Composer of ‘Law Of The Tongue’, Nicholas Vines.

Featured image: The Acacia Quartet (left to right) Anna Martin-Scrase, cello, Stefan Duwe-viola, Lisa Stewart- violin, Myee Clohessy-violin

The latest Acacia Quartet concert celebrated imagination and ingenuity. lt showcased this ensemble’s communicative skill and the creativity of composers when reacting to their physical, political and historical surroundings.

In the stunning environment of Sydney Opera House’s Utzon Room, the programme of three compositions featured two evocative Australian works from the last three decades and Beethoven’s diverse String Quartet No 10 in E flat major Op 74 ‘The Harp’ (1809).

The concert’s first half juxtaposed this Beethoven quartet, a classic of the repertoire and Beethoven’s Heroic period, with Australian composer Moya Henderson’s ‘Kudikynah Cave’ for String Quartet (1987). Heroic, conservationist and collaborative qualities imbue this work, inspired by a reaction to visiting a sacred site of the Tasmanian Indigenous population on a trip with the Tasmanian Wilderness Society.

in the concert’s second half, the Sydney premiere of Nicholas Vines’ String Quartet ‘Law Of The Tongue’ (2016) extended the spirituality and heroic outlook in the other programmed works. Vines’ work is a complex soundscape presenting historic scenes  which occurred during routines whale hunts on Australia’s east coast. It  explores  the interaction between white and indigenous whalers, orcas and whales.

Acacia Quartet was well equipped to answer the technical and expressive challenges of this work, in its Sydney premiere performance. Vines’ exciting four movement work masterfully uses the intensity of the string quartet genre and the timbre of individual instruments to recreate images and action. Mastering the composer’s very modern, challenging and personal performance techniques, Acacia Quartet brought to life the  routine savagery of the whaling industry in this country in a  confronting narrative.

Modern string effects heard in much new music were extended to include Vines’ unique and arresting vocabulary of gesture. At all times Acacia Quartet captivated us as they captured the drama and necessary epic storytelling in this compelling species of programme music.

Law Of The Tongue replaced the suggestive gimmickry sometimes found rippling on the surface of lesser programmatic compositions with deep sonic communication as well as spirituality of place and event. This is the tradition owing much to the legacy of Peter Sculthorpe, to whom the work was dedicated, in memoriam.

This style was expertly championed through Acacia Quartet’s sensitive attention to detail and management of  string effects required during  successive events in each of the four movements.

This same spirituality resulted when the well-blended quartet traced Moya Henderson’s densely beautiful trajectories in the opening piece.  Law Of The Tongue benefitted from the support of historical photographs and quite an extensive spoken introduction by the composer. Henderson’s work was further enhanced by notes informing us of its inspiration.

The unique middle-period spirituality of Beethoven’s ‘Harp’ Quartet,  featured a keen emotional response to  his Vienna at the time of Napoleonic invasion. This quartet was colourful and spirited in Acacia Quartet’s interpretation. Beethoven’s first movement harp-like effects were rang out with clarity in the acoustic. There was a consistently tight ensemble balance and well-projected pizzicato playing.

The sprawling calm atmosphere of the slow movement was exquisitely maintained with measured success, followed by a savage contrast as the quartet performed the dramatic Presto third movement. This movement was attacked with formidable crispness.

This quartet’s final movement variations were performed with further exquisiteness and large variety of nuance. Beethoven’s creativity and flexibility of structure here unfolded with delightful grace as Acacia Quartet let the music speak uniquely and eloquently.

Acacia Quartet next perform at the Utzon room on November 9. The programme will once more include works by successful Australian composers, as well as Phillip Glass and Bernard Hermann.