Born 02.06.1964 in Esbjerg,
Between 1977 and 1987 in Forest
Between 1987 and 1994 in
Since 1994 in Forest Row, GB
again. 2011 move to Berlin, Germany
study of music (theory & harmony, composition, singing, piano) with Cecil Cope (Forest Row) and
Louis Demetrius Alvanis (London). Merit in grade 8 piano-exam.
1987-1992 Music training at
the Music seminar at the Eurythmy school Hamburg
(DE). Main Subjects: Composition (Elmar Lampson), Piano (Ulrike
Bauer), Choir conducting (Michael Hartenberg), subsidiary
subject: singing and history of German folk song.
Graduation: Concerto for
Violin and Chamber-Orchestra, and works for solo piano and for
choir a cappella.
Piano exam and
public recital: Bach, Mozart, Debussy, Bartok and Brinch.
Written diploma work and
public lecture on “the power play between major and minor
seconds in the formation of the major scale”
Marriage to Sigune Grosse
Birth of first child (Selina)
- Birth of second child (Theodor)
- Part-time music teacher and
Eurythmy piano accompanist at the Seminar for Waldorf-eduation in
1994-2001 Carrier of
music and eurythmy piano accompanist at Emerson College,
Co-carrier of the “Foundation Course” at Emerson.
Summer 2001 End of work at
Emerson College in order to pursue career as Composer.
Nov 2001 Birth of third
child (Felix), More concentrated work as composer and teacher of individuals.
2004 beginning of work with William Hancox, more concentration on work as a singer.
Composition of "Lieder gegen das Vergessen". 11 Songs for Soprano, Baritone and Piano to texts by unknown Lyricists (collected and researched by the late Dr. Michael Moll) from Concentration-camps during the 3rd Reich in Germany.
2006 -2009 Lectures and Workshops to Iceland, Japan, South Korea and Taiwan.
Collaboration with Colin Atwell of Claudio records on recording materal for CDs Brinch vol 1, 2 and 3. With recording artists Rohan De Saram - Cello, William Hancox - Piano, Jonathan trusscott - Violin, Josef Gazsi - Violin, The Bergersen String Quartet. Also Julie Groves.
I loved music as a child and saw myself as a singer at an early age.
As a teenager I took up the guitar and spend hours daily improvising
and eventually had a 3-4 hour repertoire of original material as well
as the favourite Dylan, Beatles and blues songs. After leaving school
I spent a year traveling and after a year of going it alone in “the
world” I had come to he end of any career aspirations. At this
point I saw the film “Amadeus”. During the course of seeing this
film I formed the resolve to devote the rest of my life and faculties
to the pursuit of music and especially composition. I knew that this
would challenge me for the rest of my life, and I would reap endless
amount of pleasure and pain from it.
I now see my activities as
ranging from teaching young children in a local choir, performing
piano and song recitals, directing local ensembles and musicians
further afield both professional and amateur in my own compositions.
In my view music is the teacher of harmonious global citizenship based on
individualism in my view and in all my musical endeavors this is
plays into my work in one way or another.
October 2001 I was asked by Rainer Schnurre to consider writing music
to the newly formulated Declaration of Human Rights. In the
wake of September 11 th this felt like a very timely
request. I had long been looking for a longer text to write music to,
and yet I had not found anything satisfactory in my own searches.
Rainer Schnurre of Arche Nova in Berlin and founder of Artists
for Human Rights (www.kuenstler_fuer_menschenrechte.de) had
been on the look-out for a composer who would be willing and able to
weave music into the fabric of this very linguistically dry, but
humanly immensely rich text. The subjects I have found myself time
and again drawn towards and immersing myself in, are closely linked
with the themes and issues that are so clearly formulated in this new
Human Rights Preamble in particular. These themes took me into the
problems concerning the Second World War and the holocaust and the
systematic violation of Human dignity which has been perpetrated in
the world since this time, despite no further “major
Questions concerning the lack of a true social order in the
world, that reflects the human being as an evolving, developing
spiritual being, capable of fulfilling the task of being the
custodian of the planet, and of realising spiritual ideals in earthly
life, have concerned me greatly. As an artist I have questioned the
artists’ role and responsibility in our time.
To be given the opportunity to write music to
this text so clearly formulated out of a deeply earnest approach to
ethics, concordant with the ethics I experience in of Steiners’
Anthroposophy, is a real gift, and I have received it gratefully.
Since then, we were asked by Michael Schmock in Wuppertal to bring
the work to performance in Germany in May this year. This was at the
“Thementag” on Terror und Menschenwürde“
(terror and human dignity). As a preparation
for this event we performed the work in Forest Row.