"I make music to excite the performer and enrich the lives of anyone who hears it. I believe in a future where composers, performers and listeners are at the heart of the creative musical process." — Anna Grig
Anna's life was always filled with music. Growing up in a family of a piano-maker and jazz musician, she began to improvise and sing and play from very early on, which led her to the music school. Around the age of 14, Anna encountered a harp during a piano-tuning session ahead of an orchestra rehearsal, an instrument that ignited a further thirst for new music.
A genuine curiosity for sound and love of improvisation led Anna to pursue a composition degree at the Royal Conservatoire of Scotland. It was there that she first encountered electroacoustic music, and quickly found that composing in this medium demanded a technical fluency her training hadn't yet given her. That gap led her to a professional diploma in Mixing and Mastering from SAE, taken specifically to put her production and studio skills on equal footing with her compositional ones. Prior to all this, however, Anna had already graduated as a music educator, a first-row seat into what the public actually hears and into the many levels on which music can be perceived.
That sound and human-centred background still shapes how Anna works today. Her catalogue runs from chamber and choral writing to solo and screen work, among them “Descent into Madness”, ”In-Chanting” and “in love, in spring!”. More recently her attention has shifted toward electroacoustic composition, and toward a project exploring her own synaesthetic perception through electroacoustic harp, light and sound.
At present Anna teaches harp, voice, music theory and composition in Hamburg, and runs two community projects of her own: a Harp Café, and the Sound Lab, a free-improvisation laboratory for middle school pupils.