Anthony Albrecht is a Novocastrian cellist and recent graduate of The Juilliard School in New York City, completing a Master of Music in Historical Performance while studying with Phoebe Carrai. During his degree Anthony performed under William Christie and Nick McGegan and alongside Jordi Savall and Monica Huggett in venues such as Alice Tully Hall and the Metropolitan Museum of Art.
Beginning cello at the age of 7, his cello teachers and mentors have since included Anthea Scott-Mitchell (Newcastle Conservatorium), Alexander Baillie (HfK Bremen), Stephan Schrader (Deutsche Kammerphilharmonie), Guido Larisch (Freiburger Barockorchester), Bruno Cocset (Les Basses Réunies), Jamie Hey (Australian Brandenburg Orchestra) and Daniel Yeadon (Australian Chamber Orchestra), with whom he completed a JUMP Mentorship through the Australia Council of the Arts in 2011. He has also enjoyed private study with Pieter Wispelwey in Holland.
We asked Anthony some questions
How old were you when you decided to be a musician and what led you the instrument(s) you now play?
I was seven years old when I began the cello. Previously I had played piano with the inimitable Bronwyn MacRitchie in Newcastle, and a brief period on the violin confirmed that I would not be a violinist. My primary school bought a cello in a bright red case and that was attraction enough to carry it around with me. I really became a cellist 10 years later when I performed the D minor Prelude from JS Bach’s second solo suite at the funeral of a close friend. This experience made me understand the power of music to speak to the soul when words fail.
When you’re not rehearsing/performing/teaching, where are you most likely to be?
Playing with my adorable two-year old daughter Lyra, doing admin/research on my laptop, or riding my bicycle. I’m a nature boy when I can tear myself away from technology.
After you finish a concert, what is the first drink you want to have in your hand?
Water! I talk a lot with the audience during my concerts so I get very thirsty.
If there weren’t external factors involved, how long do you think a concert should go for?
75 minutes of music with a 15 minute interval, so 90 minutes in total! Enough time to relax and start listening properly.
When should we clap?
When you can’t hold it in any longer! However, a Bach cello suite is a beautiful whole, so I think it is worth preserving the precious silence between the six movements.
More about Anthony
In New York, Anthony is a founding member of New Vintage Baroque and has recorded for VIA Records. Back home in Australia, Anthony has performed with Ironwood, Sydney Camerata, Pacific Opera, The Sydney Consort, Salut! Baroque, the Australian Haydn Ensemble, Pinchgut Opera, the Orchestra of the Antipodes and the contemporary music ensemble Chronology Arts, as well as recording for ABC Classics. In London, Anthony is a busy freelancer with groups such as the Little Baroque Company, the London Bach Players and the Istante Ensemble. As a chamber musician Anthony has collaborated with Charles Neidich, Marc Destrubé, Kathryn Selby, Sara Macliver and Neal Peres Da Costa, among others. He was an Ian Potter Cultural Trust recipient and MCA Freedman Fellowship nominee in 2013 and 2014, and a Kruger Scholarship finalist in 2016. He is founder and Artistic Director of the Lapwing Music Festival held at Cuckmere Haven in East Sussex, England.
Anthony is a passionate nature lover, bike rider, an experienced Railway Worker and German translator, and in 2012 completed a Bachelor of Liberal Arts and Sciences with Honours in Geography at Sydney University. He has recently joined the research program of the Guildhall School of Music and Drama, London as a Guildhall Scholar.
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