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. 

In New York, Anthony is a founding member of New Vintage Baroque. 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 a chamber musician Anthony has collaborated with Charles Neidich, Marc Destrubé, Kathryn Selby and Neal Peres Da Costa, among others. He has been an Ian Potter Cultural Trust recipient in 2013 and 2014, and was nominated for the MCA Freedman Fellowship for the last two years. 

Anthony is a passionate nature lover, bike rider, a qualified Railway Worker and German translator, and in 2012 completed a Bachelor of Liberal Arts and Sciences with Honours in Geography at Sydney University. He is has recently been accepted into the PhD programs of the Royal College of Music, the Guildhall School the Leeds School of Music and Royal Holloway (University of London).

* Novocastrian: one hailing from Newcastle, Australia

‘Cavanagh and Argus’ are Melbourne brothers David and Michael Kean. The two have played together musically from a young age, playing what has been described as ‘idiosyncratic folk’, on acoustic guitars, using a distinctive finger picking style mostly informed by their classical training. They were a main song-writing force in Melbourne bands ‘Too Many Cars’ and ‘North Project’, and in 2006 the brothers started performing under the name ‘Cavanagh and Argus’, seeking to focus on their acoustic folk style. The brothers have also been involved creatively with other Melbourne musicians, including guest appearances on Oliver Mann’s first two records (Oliver Mann ‘Sings’, ‘The Possum Wakes At Night’), and in 2009 toured Australia as part of the Oliver Mann Band.

 

In October 2011 they toured New York, playing shows alongside talented New Yorker Will Stratton, at esteemed venues such as The Side Walk Cafe, Postcrypt and Pete’s Candy Store. The tour culminated with a special show at the Melodica festival in Brooklyn.

 

Their début album ‘On the hour’ was released in March 2012, and has since received regular airplay. Whilst the majority of the album was recorded in Melbourne homes and studios over the last couple of years, Cavanagh and Argus spent a month completing the album while on tour in New York, at the Buddy Project studios in Queens Astoria (home of Sufjan Stevens’ ‘come on feel the Illinois’, and fellow Australians Angus and Julia stones’ 2010 release ‘Down the way’).They are now focusing their attention on their second album, due mid 2014.


Stephanie is a country born violinist, dedicated to bringing accessible music performances and education to all ages. After discovering Historically Informed Performance Practice while completing her Bachelor of music, she has since enjoyed touring nationally with esteemed Australian period instrument orchestras, whilst freelancing as a folk and alt pop artist. Stephanie has enjoyed teaching strings since a teenager across regional and metropolitan schools, including the philanthropically funded Heinz Music Project. Since the birth of her first child a year ago, Stephanie has been fascinated with the musical possibilities of connection and communication with children.

Stephanie Eldridge is following