1:10pm - 2pm

Wednesday 7 December 2022

Lunchtime Recital - Anna Scott

Anna Scott will be performing, along with DMM students, in the lunchtime concert, which explores ensemble performance. The recital will feature works by Dowland, Britten, Bozza, Clarke, and others


PATS Studio One
PATS Building
University of Surrey
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The Institute of Austrian and German Music Research with the support of the Institute of Advanced Studies at the University of Surrey is hosting the Canadian pianist-researcher Anna Scott as Artist in Residence in 2022-23.

Anna works at Leiden University's Academy of Creative and Performing Arts and the Royal Conservatory of The Hague, and specializes in nineteenth-century performance practices, challenging traditions of performance, listening, and understanding of canonic solo, chamber, Lied, and orchestral repertoire from Schubert to Debussy.



In her Surrey University Residency she explores these performance perspectives with staff, students, and the wider public, focussing on ensemble performance, creative recording practices, and cultural-political issues of music and conflict.

All are welcome to attend, free of charge, the following events taking place during her first visit:

Wednesday December 7th, 1.10pm, PATS Studio One Performance

Wednesday December 7th, 16.00, room TB10, Research Seminar:

'Theorizing Ensemble Performance Practice: New Paradigms'

This event will also be available live on Zoom. To receive the Zoom link, please sign up by emailing Jeremy Barham by Wednesday 7 December 12 noon, at j.barham@surrey.ac.uk

Friday December 9th, 19.00, PATS Studio 1:

'"Doesn't Play Well With Others": Anna Scott in Conversation with Cellist Chris Terepin'. A mixture of performance and discussion focussing on innovative ensemble performance practices.


An evening of ideas, sounds, and conversation around what it means to play the chamber music of Johannes Brahms well with others, in the sense of both properly and together, and how this familiar music can sound when musicians dare to reject these values. Drawing upon her recent recordings of Brahms's Violin Sonata in A Major and Piano Quintet in F Minor, Anna suggests that players and audiences alike are hungry for more than competence and unanimity in performances of canonic chamber works, but that in order to get more of what they want they may also have to accept more of what they fear.