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Music By The Sea - World Music Festival, Sandgate, Brisbane
Sandgate Town Hall Sandgate Town Hall Sandgate Town Hall


     Music By The Sea believes that ART is essential for the wellbeing of the community

Music By The Sea Concert Series 2016 






















9th July, 7:30pm, Sandgate Town Hall


Acacia Quartet

Lisa Stewart (violin), Myee Clohessy (violin), Stefan Duwe (viola), Anna Martin-Scrase (cello)

For Acacia’s Music By The Sea concert ‘The Harp & The Harpoon’, they will perform Beethoven’s famous ‘Harp’ String Quartet in Eb Op 74 (nicknamed for the arpeggiated pizzicato passages in the first movement) alongside two compositions that reflect Australia’s unique landscape.  

The first of these Australian works, ‘Kudikynah Cave’, is by Moya Henderson, one of Australia’s most established composers with a career spanning four decades. This single movement work, with its beautiful and stirring harmonies, takes its name from a cave hidden along the banks of the Franklin River in the rainforests of Tasmania. It is typical of the strong sensory images Moya likes to create through her music.  

The second Australian work is titled ‘Law Of The Tongue’ and is written by one of Australia’s new generation composers, Nicholas Vines. Music By The Sea’s audience will be hearing the world premiere performance of this intriguing work! (This is not the first world premiere performance Acacia has presented in Sandgate. Two years ago Acacia performed Lyle Chan’s incredible musical diary ‘An AIDS Activist’s Memoir’ which they have just performed in Vancouver, Canada).  This year’s world premiere The Law of the Tongue is inspired by a unique piece of Australian history from the small whaling town of Eden on the New South Wales south coast. It tells the extraordinary tale of the collaboration between man and orca whales in their hunt of baleen whales.  The particulars of the hunt are in themselves fascinating. The orcas would herd a baleen into the deep waters of Eden’s Twofold Bay, then alert the whalers by slapping the water with their tails. Joining forces they would hunt together. Dividing up the carcass the much sought-after tongue would be thrown back to the orcas as the reward.  This ritual became known by the locals as ‘the law of the tongue.’  Vines’ composition mimics different whale songs, an Aboriginal corrobboree, the orca’s tail slaps, the exhilarating hunt and the whaler’s final thrust of the harpoon.  

“four extraordinary musicians gave it everything they had… It was playing of the highest order” – ClassikOn, 2014

 “Sometimes words can fail to adequately describe what one witnesses… the Acacia Quartet illustrated each movement with an incredible depth of understanding” - The Age, 2014


 6th August, 7:30pm, Sandgate Town Hall


Flinders Quartet

Flinders Quartet is Shane Chen (violin), Nicholas Waters (violin), Helen Ireland (viola) and Zoe Knighton (cello)


BRITTEN - String Quartet No. 2 in C major, Op. 36 

STUART GREENBAUM - String Quartet No. 1 Time’s Arrow

BEETHOVEN - String Quartet No. 10, Op. 74 in E flat major (Harp)


Flinders Quartet is instantly recognisable as one of Australia’s most loved chamber music ensembles. A quartet for the twenty-first century, FQ continues its second decade with acknowledged musical skill and maturity. The group’s dynamic and stirring performances of a full spectrum of repertoire have audiences and critics articulating their esteem, and the quartet is now a highly respected force in Australian chamber music.

FQ’s first commercial CD release, “Reinventions” with Genevieve Lacey, met with critical and popular acclaim and was re-released on the ABC Classics label in 2015. Also on the ABC Classics label is its ARIA-nominated 2011 release, “Fandango” with Karin Schaupp, and 2015 release “Intimate Voices: Sibelius String Quartets”.

 The members of Flinders Quartet have a steadfast commitment to the development of Australian chamber music, musicians and audiences. As teachers and mentors they regularly work with the Australian Youth Orchestra.


“Their shading, rhythmic pliability and tautness of ensemble are impeccable.” 

— LIMELIGHT MAGAZINE (reviewing “Intimate Voices”), December 2015 


 “... intense clarity and fluid partnership ...”

— COURIER MAIL (reviewing “Intimate Voices”), September 2015


“... the quartet sounded as if they had been playing together for a lifetime: unity of interpretation, tight ensemble, fine balance, matched tone, and fluent dialogues between solo and collective lines.”