Gregers Brinch

About me

Gregers Brinch
Gregers Brinch

Born 02.06.1964 in Esbjerg, Denmark.

Between 1977 and 1987 in Forest Row,GB

Between 1987 and 1994 in Hamburg, DE

Since 1994 in Forest Row, GB again. 2011 move to Berlin, Germany

1984–1987 Independent 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”

  1. Marriage to Sigune Grosse (*1964)

  2. Birth of first child (Selina)

  3. Birth of second child (Theodor)
  4. Part-time music teacher and Eurythmy piano accompanist at the Seminar for Waldorf-eduation in Hamburg.

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.

In 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 ( 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 wars”!

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.