Season  2018

Acacia Quartet is launching their 2018 season!

Catch up with Acacia in 2018 in Ballarat, Bathurst, Bellingen Bowral, Canberra, Coffs Harbour, Flinders, Forbes, Hunters Hill, Lithgow, Melbourne, Orange, Springwood, Stratford, Sydney, Ulladulla, Warragul and Young.

They'll perform compositions by Ludwig van Beethoven, Antonin Dvorak, Osvaldo Golijov, Moya Henderson, Gordon Kerry, John Peterson, Giacomo Puccini, Günter Raphael, Jaquin Turina, Giuseppe Verdi, Nick Wales, Hugo Wolf and probably many more.

There'll be world premieres by Moya Henderson, Gordon Kerry, John Peterson, Nick Wales and more already lined up, but not confirmed.

2018 collaborations see Acacia Quartet teaming up again with international viola soloist Emile Cantor and Australian guitar virtuoso Matt Withers.

Acacia is very much looking forward to tutoring much more in 2018.

Acacia Quartet is very excited and hope you'll manage to join them for one of their concerts in 2018! 


The Acacia Quartet perform the world premiere of Moya Henderson’s The Dombrovskis Quartet, followed by a late night viewing of the photographs that inspired its creation in the exhibition Dombrovskis: Journeys into the Wild. There also be performances of Moya Henderson's Wilderness Pieces for violin and piano (guest Roland Peelman), excerpts of Verklärung: Ecstatic Exercises for Solo Cello and Kudikynah Cave for string quartet.

SUNDAY 28 January 2018 - 6PM

Parkes Place West, Canberra ACT 2600

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'Engaging and gripping from the outset, the concert from this prominent quartet on the Australian musical landscape drew on its collective experience and skill to present intricacies of rhythm in the ingenious works selected. Broad, beautiful shifts of texture or successive textural complexities and string effects in the various modern works were also clearly demonstrated to the attentive audience.' - Sydney Arts Guide, 2017, - read more here

'Again we marvelled at the unerring dialogue of the musicians as they responded to each other in this quartet, which began with such longing and foreboding as well as such sadness and hope and evolved, through a display of skill from all the players, through a whole gamut of moods leaving the glorious tranquillity of the second ‘Rosamunde’ movement forever in our musical experience. From this movement we were led through pathos and soberness to the delightfully cheerful last movement, as a rustic folk dance, with Schubert cutting through the gloom to leave us on an optimistic note.' - Yass Music Club, 2017, - read more here