On March 6, her latest Deutsche Grammophon album Johann Johannsson — Piano Works was released. Presenting a collection of world-premiere recordings of music by Johannsson, the recording project took her to Iceland to work on the piano music of the Icelandic composer.
The 30-track album draws on an edition of solo piano transcriptions of his works, which span the composer's career, from studio albums such as Englaborn and Orphee to the pioneering scores he wrote for documentaries and feature films, such as Copenhagen Dreams, Personal Effects and the Golden Globe-winning The Theory of Everything. The visionary work of Johannsson, a highly influential figure in contemporary music and a multi-award-winning film composer, has continued to captivate listeners and inspire musicians since his untimely death in 2018.
"I hadn't met him personally, but collaborating with people who knew him helped me connect with his music. We recorded on an upright piano, which created a sense of intimacy. Close microphones made listeners feel almost beside me. That closeness reflects the way I want music to be shared,"Ott says.
Recording on the upright piano was transformative. She doesn't make a big distinction between upright and grand pianos but "every piano is different, and I always adjust", she says.
"Sometimes, an instrument challenges you. Notes can be uneven, tones unpredictable, and then you spend mental energy just managing it. That's part of the job. But this upright … it was like walking on clouds," the pianist says. "Everything became easy, even pieces I had struggled with at home. I didn't have to fight the instrument; I could just play. It was effortless, and I can't remember the last time I felt so in love with a piano."
Known for her remarkable versatility and experience in both contemporary and core classical repertoires, Ott developed a love for the piano at the age of 3, when her parents took her to a concert because they couldn't find a babysitter. A year later, she started taking piano lessons.
Her journey as a pianist has also been one of personal evolution. When she signed with Deutsche Grammophon at 19, she came from a very traditional musical background. She had plans for her first albums, but then realized that people were expecting an artistic identity from her — and she had no idea how to develop one.
Through collaborations and self-reflection, she began to question traditions and explore her own voice. She also changed her views about marketing."I used to consider promotion tasteless, but as a musician, our goal is to share our passion. If I'm not involved in shaping the narrative, others control it. Being involved allows me to create authentic work I can fully stand behind," she says.
Ott's reflections extend to technology and AI. AI is here, and it won't go away, as she puts it.
"The only thing separating us from AI is human imperfection. AI will be flawless, but it can't replicate human unpredictability, emotional nuance or experience. That's why artists need ownership and active involvement in creation. The more we invest ourselves in our work, the more uniquely human it becomes," Ott says.
Contact the writer at chennan@chinadaily.com.cn
