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Anneke Scott: “If We Want to Be a Cultural Force for Good and Engage With Members of the Public, It Is Vital That We Are All Openly Positive About What We Do”

Abstract:

In this interview, Anneke Scott, an accomplished horn player with expertise in both historical and modern instruments, shares insights into her musical journey. Hailing from Birmingham, Scott’s early exposure to orchestral performances ignited her passion for music. She discusses her formative years at the Royal Academy, where her teacher, Andrew Clark, played a pivotal role in nurturing her enthusiasm for the natural horn.

Scott elaborates on the balance between playing the modern and natural horn during her studies and the valuable advice she received to complete the modern horn qualification. She emphasizes the importance of having the right equipment to secure opportunities in the field of Historically Informed Performance (HIP).

The interview explores the distinctions between performing on period instruments and modern ones, highlighting the multifaceted aspects of HIP, including materials, performance practice, and contextual knowledge. Scott credits her teachers, including Claude Maury and Teunis van der Zwart, for shaping her musical standards, pushing her to explore interpretations and supporting her professional development.

Scott delves into her early experiences working with period ensembles, emphasizing the role of equipment in securing work. She discusses her association with Sir John Eliot Gardiner’s ensembles and the diverse range of international collaborations, showcasing the variety in her musical endeavors.

The conversation touches on Scott’s passion for promoting a positive outlook in the field of Historically Informed Performance, encouraging musicians to be openly enthusiastic about their work. Scott’s commitment to continuous learning and research is evident, and she offers valuable advice to aspiring musicians interested in pursuing HIP.

The interview concludes with a discussion of some of Scott’s most rewarding projects, including recordings with Ensemble Pygmalion and performances in Prague. She shares details about ongoing projects, such as collaborations with The Prince Regent’s Band, and offers advice for those seeking to enter the world of HIP, encouraging them to dive in and embrace the experience without letting perfection be a hindrance.

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Publication date:

ISSN: 2792-8349

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International Journal of Music