In 2006, he received his BM in Piano Performance from Catholic University, studying with Emmy-winning artist Marilyn Neeley. He has also worked under the tutelage of Bruce Murray at the Brevard Music Festival and recently studied with Harvey Weeden at Temple University, where he received his Masters in Piano Performance. Scott Anthony is no stranger to MMTC, having been a part of its orchestra pits during the run of Wings as second keyboard and also enjoying the same during Spamalot. He moves into the position of Music Director for Joseph and the Amazing Technicolor Dreamcoat, which plays Nov. 20-Jan. 5.
For more information, visit http://www.delconewsnetwork.com/articles/2013/12/02/entertainment/doc529381ed2904c479589826.txt
The Piano Lesson
Each one that arrives he rebuilds with loving hands. Unfortunately, Carhart’s description of his new life among Luc and the other piano connoisseurs is occasionally stilted, as if he were translating from the French. This is most evident when he is offering a primer on the fundamentals of tuning, temperament and piano history. In contrast, his writing is most relaxed and evocative when he is in the atelier: ”The keys felt cool and slightly irregular beneath my fingers, their surfaces worn by years of playing, and I wondered what I always wondered as I touched the broad expanse of aged ivory: who had played this piano and where, and what music had they made?” In the end, though, there is only so much Carhart can say about the atelier. Even the rarest and most beautiful pianos can take on a seen-one-amazing-soundboard-seen-’em-all sameness. Carhart keeps things moving by offering more Parisian piano lore — providing, for example, a chapter about the renowned music school where Debussy once taught.
For more information, visit http://www.nytimes.com/2001/06/10/books/the-piano-lesson.html