Former doctoral researcher
Anna Scott is a Canadian pianist-researcher interested in using the early-twentieth-century recordings of the Brahms circle of pianists to question the persistent gaps between the loci of performer knowledge, ethics, and act in both mainstream and historically informed approaches to Brahms’s late piano works. Far from advocating more historically accurate performances in general, Anna’s off-the-record experiments both elucidate and disturb modern constructions of Brahms’s classicist canonic identity by encouraging the emergence of the corporeal and psychological conundrums more characteristically associated with Romantic pianism.
