Anna Korsun (1986, Ukraine) is a composer, sound artist and performer based in Germany.

She studied composition in Kiev and Munich with Prof. Moritz Eggert.

Anna works for different formations from solo instruments to an orchestra, including acoustic instruments, voice, electronics and sounding objects. She also collaborates with artists from visual arts, dance, theater and literature. Anna involves into her works both professional and amateur musicians, as well as non-musicians. Besides an activity as an artist Anna performs contemporary music as vocalist/keyboard instruments, directs musical projects and teaches composition at international courses.

She participated at international festivals such as eclat, Darmstädter Ferienkurse, ISCM, Warsaw Autumn, Festival Musica Strasbourg, Huddersfield Contemporary Music Festival. Anna worked with Neue Vocalsolisten Stuttgart, SWR Vokalensemble, ensemble mosaik, ascolta, ensemble modern, AskoSchoenberg, Silbersee, Bavarian Academy of Theater August Everding, Ludwik-Solski-Academy for performing arts in Krakow, Bournemouth Symphony Orchestra, Dallas Symphony Orchestra. She was artist-in-residence at Villa Massimo in Rome, Villa Aurora in Los Angeles, Villa Concordia in Bamberg, Residency for New Music Goethe Institute Canada, Academy Schloss Solitude, Cité internationale des arts in Paris and others. Anna was awarded Prize of Christoph-and-Stephan-Kaske-Foundation, Gaudeamus Award, Kunstpreis Berlin and Open Ear of Trillende Lucht Foundation.

COMPOSERS'S STATEMENT

I write my pieces for different instrumentations. Sometimes I work with electronics, sometimes I collaborate with other arts, but I am particularly interested in the acoustic sources.

For me music is a kind of art where the artist works with sounds and their relationships in time and space. But above all, music for me is a way of thinking and a kind of world perception. I do not differentiate between "musical" and "non-musical" sounds. Sound becomes musical at the moment it is used for music, regardless of whether its source was a traditional musical instrument or an object that was normally used for non-musical purposes.

For me it is quite difficult to transfer musical ideas into verbal means. When I compose a work, I think in terms of sounds, their relationships, connections, mixtures and musical time and not in terms of story-telling. To me, music creates its own world, which does not necessarily have to be applied to literature or image. Every piece is another one sound being, which the listeners and musicians experience together with me in their personal way.

I work a lot with the human voice. In my opinion, the voice should not necessarily be linked to a text. The voice is not just a medium between literature and music, but a unique and very special, intimate instrument. On the other hand, a text should not necessarily be embedded in music, because its phonetics have its own expression and can itself become music.

I am interested in the perception of musical time. In my work I try to understand which factors influence the experience to listen to the same works, depending on the context, space, environment, direct participation or observation and even the time of day.

I love music art for its abstractness. I aim to investigate, how can an artist work with the pure musical sources of expression, the processes which cannot always be verbalized. The most important thing for me is the creation of a musical image that brings the listener into a kind of alternative world and thus makes our life, like all other types of art, multidimensional.