LIVE REVIEWS

“Kati Debretzeni’s bucolic dancing solo violin...will stay long in the memory As will Anneke Scott’s rumbustious horn playing...in the Quoniam to solus sanctus.”
(EBS/Gardiner live performance reviewed in The Times).

“Noteworthy [were] the solo obbligati in the arias. Best of all were those in the two bass arias: Anneke Scott ‘s characterful horn line in “Quoniam tu solus sanctus” and the gracefully duetting oboes d’amore in “Et in Spiritum Sanctum.”
(Christophers/The Sixteen/Barbican live performance reviewed in opera-britannia.com)

“In the “Quoniam tu solus” you just had to switch off and enjoy Anneke Scott’s mastery of her capricious but characterful-sounding horn obligato.” (Christophers/The Sixteen/Barbican live performance reviewed in theartsdesk.com)

“Mención especial merece Annek Scott, y su impresionante lección de trompa natural en la parte obligato con que cuenta en el aria Quoniam tu solus Sanctus.”
(Christophers/The Sixteen/Cuenca live performance reviewed in www.mundoclasico.com)

CD REVIEW: Bach Mass in B minor, Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner (dir), David Shipley (bass), Anneke Scott (horn).

"David Shipley, a true bass who — duetting with the outstanding horn player Anneke Scott — gives a rambunctious performance of the Quoniam." (Richard Morrison, The Times, November, 2015).

"Anneke Scott's spectacular horn obligato in the Quoniam tu solus sanctus." (The Arts Desk, December 2015).

"My hat goes off to hornist Anneke Scott, whose execution of the fiendish solo part in Quoniam tu solus sanctus is by far the most remarkable I’ve ever encountered on valveless horn." (Huntley Dent, Fanfare Magazine, May/June 2016).

CD REVIEW: Bach Mass in B minor, Dunedin Consort & Players, John Butt (director), Matthew Brook (bass), Anneke Scott (horn).

"Matthew Brook's Quoniam is as fluent as the impeccable horn obbligato of Anneke Scott."(George Pratt, BBC Music Magazine, 7th July 2010).

"The horn / bassoon obbligato of the Quoniam tu solus sanctus is astonishing: the instruments mesh so well that it is hard at times to tell who is playing." (Frauke Jurgensen, The Consort, 1st June 2011).

" Les tempos sont toujours justes, les soli d'une justesse miraculeuse (y compris le redoutable solo de cor naturel)." (Laurent Marty, ClassiqueInfo Disque, 30th January, 2011).

:Differences between this and those prior to the 2006 edition are small enough to avoid detection at a casual listening, but include such features as the use of two flutes instead of one to support the charming soprano/tenor duet "Domine Deus" (O Lord God) and the addition of two bassoons to fill out the harmony provided by Anneke Scott's glorious horn playing under the bass aria Quoniam to solus scanctus." (Phil Muse, Audio Video Club of Atlanta, 3rd August 2010).

“Anneke Scott...one of the finest horn soloists I have ever heard in the Quoniam tu solus sanctus. I normally forgive horn players for all sorts of wheezes and auditory oddities, but this was absolute perfection... The CD is a must-have.” ( Andrew Benson-Wilson. The Early Music Review, 2nd August 2010).

“Anneke Scott’s sparky horn playing and Matthew Brook’s conversational authority conspire to take no prisoners.” (David Vickers, Gramophone, 30th June, 2010).

Live reviews

BBC Prom 63: Bach B minor Mass
Les Arts Florissants, William Christie
Royal Albert Hall, 1 September 2016

Andrew Benson-Wilson, Early Music Reviews
"The instrumental soloists of Les Arts Florissants were on top form, notably horn-player Anneke Scott in her only appearance in the bass aria Quoniam tu solus sanctus."

Peter Reed, Classical Source
"Anneke Scott’s magnificently played, hunting-style horn in the “Quoniam tu solus sanctus” section, with baritone, along with two lovely buzzy bassoons, reminded us of the Mass’s inherent dramatic possibilities."

Barry Creasy, musicOHM
"The litmus test of a good B-minor is the bass-and-horn combination in Quoniam, and André Morsch’s rich timbre combined with Anneke Scott’s effortless understanding of the need for a little scent of the hunt, gave it a resounding pass."

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Solomon's Knot,
Spitafields Festival,
Shoreditch Town Hall, 11 December 2016

Stephen Pritchard, Guardian.
"In the Quoniam, for instance, the exceptional horn player Anneke Scott stood shoulder to shoulder with heroic bass Alex Ashworth in a totally equal partnership."

Nahoko Gotoh, Bachtrack
Throughout there was lots of eye-contact, along with smiles and looks of encouragement between the singers, and also between the singer and the solo instrumentalist in the arias (e.g. wonderful interplay between bass Alex Ashworth and horn player Anneke Scott in the Quonium, who performed side by side).

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Ex Cathedra, Jeffrey Skidmore,
Birmingham Town, Hall, November 2016

The Birmingham Post
"The Ex Cathedra Baroque Orchestra provided colourful support. Particularly outstanding were the the dulcet flutes, Kate Aldridge’s agile double bass, and Anneke Scott’s orotund yet balletic natural horn solo over chugging bassoons in the Gloria’s “Quoniam”. Trumpets and drums added a brittle glorious exuberance…"

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London Handel Orchestra, Adrian Butterfield
Tilford Bach Festival.
20th June, 2016.

Anneke Scott astounded the audience with her accompaniment to the bass aria ‘Quoniam’, the instrument being a hefty baroque hunting horn with double coil.

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Feinstein Ensemble, Martin Feinstein,
Kings Place Bach Weekend
Kings Place, 3rd April, 2016.

Gavin Dixon, The Arts Desk
"An impressive performance, too, from hornist Anneke Scott playing without valves, without hand in bell and even without music. Her brief cameo in the Quoniam was a highlight."

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Jerusalem Baroque Orchestra, Andrew Parrot
Henry Crown Auditorium, Jerusalem Theatre, 14th March, 2011.

Pamela Hicksman:
"One of the evening’s highlights was the “Quoniam to solis sanctus” (For You alone are holy) sung by Yair Polishook, with the obbligato line played by Anneke Scott (UK) on natural horn. Scott’s alacritous and spirited playing never hints at the technical challenges and problems of intonation of that feisty valveless horn."

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The Sixteen, Harry Christophers
Barbican Hall, London, 11th March, 2010.

Barry Nice, The Arts Desk
"In the "Quoniam tu solus" you just had to switch off and enjoy Anneke Scott's mastery of her capricious but characterful-sounding horn obbligato."

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Dunedin Consort and Players, John Butt
Understanding Bach's B Minor Mass Conference
Queen's University, Belfast, 2nd-4th November, 2007

Tanya Kevorkian, Eighteenth-Century Music
"Many in the audience found the performance by Anneke Scott on the natural French horn the best they had heard."

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“Mención especial merece Annek Scott, y su impresionante lección de trompa natural en la parte obligato con que cuenta en el aria Quoniam tu solus Sanctus.” (Christophers/The Sixteen/Cuenca live performance reviewed in www.mundoclasico.com)