Music Web Review of Gregers Brinch Volume 1
By David Billinge
Gregers Brinch
Gregers Brinch
Thank you...
...Bob Lord of Parma Records (who issued my first String Quartet some years back) for reminding me that it has been a while since I updated my website!
In these past two years I took the Corona meme literally and used it as a crown! I had long wanted a period of incarceration in which to complete some larger works. So I completed the Corona Symphony, I composed a series of Solo Viola works using the so-called Schlesinger modes which utilise the Undertone series. I also wrote a handful of solo piano works, a set of four duos for violin and viola, and then on 30th December 2020 I began courting inspiration to compose what I loosely call 'my opera'. By mid March 2021 I was pretty much finished and the the two acts of 'The Green Snake and the beautiful Lily' by Goethe was filled with 2 hours and 10 minutes of music. Now I am writing the piano-score so that the work can be performed. It is a tall order as I have never entered competitions nor courted fame over and beyond my earnest wish for as many people as possible to hear my music. Anyway I also finished a fourth String Quartet my longest at 25 minutes and just these days I am finetuning my Piano Trio which Tier 3 members Joseph Wolfe, Jonathan Ayling and Daniel Grimwood have asked me for. So I have jokingly called the Corona period my crowning. ICS in London unfortunately suffered a set back in its programming due to refurbishments to the newly named Marylebone Theatre which I still think of as Steiner Hall in addition to the restrictions due to drastic directives. But I am happy to say that a few performers braved the ill winds including Angela Brownridge. Louis Demetrius Alvanis is due to give a recital in NOvember 2022. More details shortly.
Private Tutoring
I teach a range of musical instruments, primarily piano, singing and guitar and always strive to find where people are at in their self-assessment so as to move forward from that point. Teaching is a creative artform, and the elements of teaching are varied. So, in some cases a more thought based approach is necessary, in other cases a greater emphasis on improvisation is possible. I take my cue from the individual in front of me and seek to be as open as possible in my work.
As a composer I see the term contemporary as not limited to a few decades or even to my own lifetime. I see the changing fashions and trends to be greatly pushed by commercial interests, and so I try and balance my music between the aesthetic aspects of music that I am fascinated by, and what I see as the general capacity for untutored individuals to engage with and embrace certain musical experiences. I look at the offer in concert halls across the world and see that concert goers are very open to a broad spectrum of styles and genres.
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