Gregers Brinch
| Gregers | Brinch |
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Sheet music for Gregers Brinch
Gregers Brinch, Vol. 3 - Spirals — Jonathan Truscott
— — Classical
By Jonathan Truscott, Josef Gazsi, and William Hancox. By Gregers Brinch. Classical, Contemporary Era. Classical. Naxos #CC5996-2. Published by Naxos (NX.CC5996-2).
Price: $16.00
Gregers Brinch, Vol. 3 - Spirals — Jonathan Truscott
— — Classical
By Jonathan Truscott, Josef Gazsi, and William Hancox. By Gregers Brinch. Classical, Contemporary Era. Classical. Naxos #CC5996-6. Published by Naxos (NX.CC5996-6).
Price: $16.00
Gregers Brinch: Kaverdalen, Vol. 2 — Rohan de Saram
— listening CD — Classical
By Rohan de Saram and Julie Groves. By Gregers Brinch. Classical. Listening CD. Published by Naxos (NX.CC5993-2).
Price: $16.00
Gregers Brinch: Kaverdalen, Vol. 2 — Rohan de Saram
— 1 DVD Audio — Classical
By Rohan de Saram and Julie Groves. By Gregers Brinch. Classical. 1 DVD Audio. Published by Naxos (NX.CC5993-6).
Price: $24.00
Tante Andante - og Andre Sange — Klaus Brinch
— Vocal Score —
Composed by Klaus Brinch. Music Sales America. Vocal Score. Composed 2005. Edition Wilhelm Hansen #WH29907. Published by Edition Wilhelm Hansen (HL.14032659).
Price: $11.00
Mainly chamber and choral music. songs and choirworks in English, Danish and German.
Gregers Brinch writes:
“I compose contemporary music for a contemporary audience! This is a problem in itself, which I revel in attempting to solve. Atonality was not an idiom i could ever just adopt. I needed to feel it as an existential necessity, and thus own it. I need to move from the accessible to the striving for new sounds; — in some cases the music will move from the barely accessible to the familiar, thereby making familiar musical idioms sound fresh and new again. In any case, I want to allow "beingness" to speak through my music! I believe music is a possibility for exploring the essence of communication and dialogue without getting lost in futile arguments and opinions. An engaged audience is vital to that pursuit!”
- 12 Duos for 2 Violins, duet (of the same instrument) (Violin)
- 3 Rounds, choir (with or without keyboard)
- A Clear Midnight, piano & vocal
- Cello Suite Nr.1, solo instrument (Violoncello)
- Das Vaterunser, choir (with or without keyboard)
- Fader vor for SATB, choir (with or without keyboard)
- Forventning-"Sne", string quartet/quintet
- Ich bin im Wald gesessen, piano & vocal
- Love’s Ground For Piano, Tenor & Alto, piano & vocal
- Nine Pieces for Piano, solo instrument (Piano)
- Pater Noster for SATB, choir (with or without keyboard)
- Pater Noster for Baritone and String Quartet, quartet (of the same instrument) (Baritone)
- Piano Sextet nr.1, string quartet/quintet
- Requiem Brevis, choir (with or without keyboard)
- Scherzo for Solo Piano, solo instrument (Piano)
- Sonata Nr.2 for Piano, solo instrument (Piano)
- St.John’s Round 2004, choir (with or without keyboard)
- The Lamb, piano & vocal
- The Spouse to the younglings, piano & vocal
- The Star for flute quartet, mixed ensemble
- Theme and Variations from the Kalevala, solo instrument (Piano)
- Three Tales for Oboe & Harp, mixed ensemble
- Violinsonata nr. 1, solo instrument & piano (Violin)
- Violinsonata nr.2, solo instrument & piano (Violin II)
Having always loved music, Brinch started composing in earnest at 20. From 1987–1992 he studied composition at the Musik-Seminar Hamburg with Elmar Lampson. He has composed prolifically for 22 years for all levels of technical ability and in many different styles, striving to marry atonal and tonal styles. He teaches people of all levels of ability and of all ages and gives workshops and lectures on music internationally including Denmark, Germany, Iceland, Japan and South Korea. His CD of pianoworks “Blue Harmony” with pianist Diana Baker was released on the Klyde record label in June 2007.
"I compose contemporary music in the broad sense of the word! In the greater time perspective we are contemporaries of Bach, Mozart, Wagner etc. So the music I compose draws on influences from all of these. I thrive on the challenge of making familiar musical idioms sound fresh and new again, or the unusual sound familiar, as long as ‘beingness’ comes through the music.”
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