Wanted: New member for the Distribution and Works Committee

How are collections distributed to authors and publishers? Who receives how much and from which usages of their works? Such questions are the focal points of the specification of duties of SUISA’s Distribution and Works Committee. In this governing body, suggestions are worked out which influence the allocation of the collections. Are you interested in co-determining the business and to sit on the committee? If that’s the case, we look forward to your application by 30 November 2019. Text by Regula Greuter

Wanted: New member for the Distribution and Works Committee

The members of the SUISA Distribution and Works Committee are elected by the General Assembly. (Photo: Sibylle Roth)

Due to the stepping down of a member of the Distribution and Works Committee (DWC), a new member needs to be elected during SUISA’s next General Assembly at the Bierhübeli in Berne on 26 June 2020.

So that the weighting of the various categories is safeguarded, the interested candidate should come from the publishers’ ranks.

Are you interested in co-determining SUISA’s future? Would you like to have the opportunity to directly influence the business activities of SUISA and to help steer the business? If that’s the case, please apply for this vacant position!

Candidates’ requirements

If you are a SUISA member with an active and passing voting right, you fulfil one of the requirements for a candidacy. You should understand the future impact of decisions taken today and not only represent your own interests but also those of other authors and publishers. The DWC meetings take place twice a year, in Berne, which means that you need to cater for one day per meeting (including travel to and from the venue and a joint lunch). The preparation time for such meetings includes the thorough study of the meeting documents which are made available electronically.

Who or what is the Distribution and Works Committee?

The DWC is a committee of the SUISA General Assembly and consists of 22 members who represent all music genres, regions and languages of Switzerland and the Principality of Liechtenstein. Composers, music publishers and lyricists sit on the committee. Finally, a balanced age and gender mix is also paramount.

You can see a list of the current committee members on the SUISA website.

Duties of the DWC

The Distribution and Works Committee is dealing primarily with questions on the distribution which is governed by the distribution rules. It performs the following duties:

  • Checks the provisions of the Distribution Rules and their implications on distribution proceeds;
  • Proposes amendments to the Distribution Rules to the Board;
  • As a first instance, handles appeals against Executive Committee decisions on the classification of broadcasting programmes, copyrightability of works and arrangement of non-protected works;
  • Evaluates in an advisory capacity unauthorised adaptations of protected works and cases of plagiarism.

Are you interested in a candidacy? If that’s the case, we look forward to your application by 30 November 2019.

SUISA, Mercedes Molina, Bellariastrasse 82, CH-8038 Zürich
E-mail: mercedes.molina (at) suisa (dot) ch

If you need any further information, please contact Ms Irène Philipp Ziebold, COO: 044 485 68 00

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How are collections distributed to authors and publishers? Who receives how much and from which usages of their works? Such questions are the focal points of the specification of duties of SUISA’s Distribution and Works Committee. In this governing body, suggestions are worked out which influence the allocation of the collections. Are you interested in co-determining the business and to sit on the committee? If that’s the case, we look forward to your application by 30 November 2019. Text by Regula Greuter

Wanted: New member for the Distribution and Works Committee

The members of the SUISA Distribution and Works Committee are elected by the General Assembly. (Photo: Sibylle Roth)

Due to the stepping down of a member of the Distribution and Works Committee (DWC), a new member needs to be elected during SUISA’s next General Assembly at the Bierhübeli in Berne on...read more

Where there is no love, everything is in vain

Zurich composer and music journalist Rolf Urs Ringger passed away on 26 June 2019 aged 84. Obituary by guest author Thomas Meyer

Rolf Urs Ringger: Where there is no love, everything is in vain

Rolf Urs Ringger had been a SUISA member since 1960. (Photo: Keystone / Gaëtan Bally)

When he was young, he is said to have wanted to write a novel with the title “The Dandy”: The protagonist takes a taxi to the opera. The book was supposed to be about this short yet extended trip – and with that, probably a little bit about himself. Never mind, whether this was invented or whether the inheritance really might include a fragment of the novel: Rolf Urs Ringger knew, of course, what kind of bait he threw to journalists with such an anecdote. Full of mischief, he envisaged how the image of Ringger, the dandy, emerged, and was happy because that is who he was: the dandy among Swiss composers, genuinely vain, but also sensually playful with this vanity. When Adrian Marthaler visualised his orchestral work “Breaks and Takes” for TV, Ringger himself played a Delius-like, melancholic composer by a swimming pool.

“I love flirting. It does, after all, provide my production with a light and playful moment. And it is really well received by the audience. And I enjoy it.” That’s what he said in a conversation. “The moment of narcissism, now understood without bias, is prominently perceptible with me.” I liked him for this kind of self-irony which was rather natural in his case. He brought his very own and outstanding colour into the Zurich music scene which tended to be modest. He was glamorous, eclectic, urban, even though he always spent his summers on Capri where he created a few sensual sound patterns. The composer was heavily involved in creating this image.

Sound and word artist

Ringger was also a native of Zurich. Born in Zurich on 06 April 1935, he grew up here, lived and worked here, a word and sound artist. He attended the seminar in Küsnacht, he completed a thesis on Weberns piano pieces at the musicologists’ seminar Zurich with Kurt von Fischer. As rur. (his initials used for writing as a journalist for the NZZ), he belonged to the critics’ staff of the “Neue Zürcher Zeitung”, delivered trenchant and elegant, sometimes deliberately careless texts, but also wrote early portraits on those composers who only got attention to a great extent such as Edgard Varèse or Charles Ives, Erik Satie and Othmar Schoeck. Apart from great characters, there are also mavericks, and he happily remembered the nostalgics among whom he probably counted himself. In publications such as the essay collection “Von Debussy bis Henze”, he bundled these portraits.

Ringger had lessons in composition very early on, privately with Hermann Haller. At Darmstadt summer schools in 1956, he studied under Theodor W. Adorno and Ernst Krenek, shortly after for half a year with Hans Werner Henze in Rome. Those were aesthetic antipodes since Henze had already withdrawn from the avant-garde scene by then. Even though Ringger later on mentioned with a smug expectant smile that he got on better with Adorno than with Henze, he still followed his abandon of the strictly serial techniques to an orientation towards a sensual sound language. This can already be heard from the sound of his titles: “… Vagheggi il mar e l’arenoso lido…” for orchestra (1978), “Souvenirs de Capri” for soprano, bugle and string sextet (1976–77), “Ode ans Südlicht” for choir and orchestra (1981) or “Addio!” for strings and tubular bells. He also created three ballet music works, namely “Der Narziss” (1980), “Ikarus” (1991), and “Ippòlito” (1995). What he obviously never tried was to approach the great dramatico-musical forms.

Sensual sound language

Ringger was one of the first who used neo-tonal elements in the 70ies, as a Henze follower, trending rather early. I dedicated a caustic comment to this in a review back then. Of course, despite all of his self-irony, he reacted relatively offended. And yet, a few years later, he reverted to the issue with pleasure and proudly announced that I had called him the first neo-tonal in this country back then. The change towards postmodernism had proved him right.

Thus, his music often played with quotes (from Debussy, for example), indulged in impressionistic colours or in highly romantic gestures, but still remained transparent and light all the while. I did, however, treasure him most as an urban flâneur. Not where he put newspaper clippings together in a childish manner to create a collage (“Chari-Vari-Etudes”, “Vermischtes”) for chamber speaking choir but in his musical promenades. In the “Manhattan Song Book” (2002) for soprano, three speaking voices and five instruments, he is out and about in New York, observes, takes notes, comments in eleven songs, cheeky, carefree, again in a coquettish self-mirroring. When a lady, called as a not so friendly “crazy witch”, asks him whether he was the “famous composer”, he only answers briefly: “No, it’s my cousin.”

Now he passed away. “Lights!” is written at the top of his obituary, below the sentences: “He loved the sun of the Mediterranean, music and youth. He thanks all of those who have done well unto him in his life and supported his music.” Capri is going to miss him. His “Notiziario caprese” (2004) ends with the words “(very calm, nearly without pathos) Se non c’è Amore, tutto è sprecato. (very matter-of-fact) Where there is no love, everything is in vain. Inscription on a grave in Capri; about 2020.”

The obituary by Thomas Meyer was first published in the “Schweizer Musikzeitung” no. 9/10 of September/October 2019.

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Zurich composer and music journalist Rolf Urs Ringger passed away on 26 June 2019 aged 84. Obituary by guest author Thomas Meyer

Rolf Urs Ringger: Where there is no love, everything is in vain

Rolf Urs Ringger had been a SUISA member since 1960. (Photo: Keystone / Gaëtan Bally)

When he was young, he is said to have wanted to write a novel with the title “The Dandy”: The protagonist takes a taxi to the opera. The book was supposed to be about this short yet extended trip – and with that, probably a little bit about himself. Never mind, whether this was invented or whether the inheritance really might include a fragment of the novel: Rolf Urs Ringger knew, of course, what kind of bait he threw to journalists with such an anecdote. Full of mischief, he envisaged how the image of Ringger, the...read more

Intriguing insights and concerts at the Zeiträume Festival

Would you like to look over composers’ shoulders while they are working? Would you like to ask them what inspires and incites them to open new worlds for us with their works? The biennial ‘Zeiträume Basel’, a cooperation with SUISA, provides you with the opportunity to have a personal chat with authors of the works which are performed during the festival. Text by Erika Weibel

Intriguing insights and concerts at the Zeiträume Festival

Zeiträume Pavilion, meeting point of the festival. It was created by Zeiträume Basel with the support of SUISA and the Basel Canton Bank in co-production with the University for Music FHNW / Music Academy Basel. (Photo: Johanna Köhler)

In cooperation with SUISA, the Festival Zeiträume turns the process of how music is created today into an experience. This is due to the fact that in 2019, a particular focus of the festival’s programme is on the creative development process of compositions. During the SUISA Talks with composers whose works sound throughout the festival, visitors to the event can enter into their world, and get an impression of their motivation, their inspiration and their various work methods. Visitors can also ask the composers questions in a relaxed atmosphere.

This can make the visit to the ensuing or previously attended concert much more intriguing and thus either build up the anticipation or enhance the musical experience. The discussions are free-of charge for the audience; they are held in various locations at the festival and are professionally run.

SUISA Talks at the Zeiträume Festival 2019

Sun 15 September Katharina Rosenberger, Baldur Brönnimann | Wir sind Meer | Mitteldeck
Mon 16 September Mitglieder FIM Basel | Das grosse Rauschen| Unternehmen Mitte
Mon 16 September Marianne Schuppe | Die Summe | ZeitRäume Pavillon
Wed 18 September Elisabeth Flunger & Gäste | Das grosse Rauschen | Unternehmen Mitte
Wed 18 September Team Rohrwerk. Fabrique sonore | Kunstmuseum
Thu 19 September Team Rohrwerk. Fabrique sonore | Kunstmuseum
Sat 21 September Team Rohrwerk. Fabrique sonore | Kunstmuseum
Sat 21 September Hannes Seidel, Andreas Wenger | Überläufer* | Zollhalle St. Johann
Sat 21 September Kollektiv Mycelium | Cyber String Species | Gare du Nord
Sat 21 September Mike Svoboda | Freude | Antoniuskirche
Sun 20 September Team Ivan Wyschnegradsky: La Coupole | Markthalle Basel

In addition, there will be daily talks at the Pavilion between 4.30pm and 7.00pm. The exact timetable will only be published by the Zeiträume Festival shortly before the event on its website.

Moderators: Bernhard Günther, Dorothea Lübbe, Johannes Joseph, Anja Wernicke

Festival Pavilion

Commissioned by Zeiträume Basel 2019, supported by SUISA, Marco Zünd, architect from Basel, (Buol & Zünd Architects) has designed a welcoming, temporary assembly point in a prominent location at the ‘Mittlere Brücke’ at the Rhine promenade. A folding cube shall act as an information centre, meeting point for various festival activities and venue of artistic interventions. There, the audience can meet composers in action throughout the entire duration of the festival.

Opening times Pavilion
Tue 10 September to Sun 22 September | daily 11am – 7pm | Wohlterasse at the ‘Mittlere Brücke’

Cube Talks with festival artists: every day from 4.30pm to 7.00pm
(except during performances)
Tue 10 September | SUISA Talk with Marco Zünd
Mon 16 September | SUISA Talk with Marianne Schuppe

Performances: Wed 11 Sep, Thu 12 Sep, Tue 17 Sep, Wed 18 Sep | 12.30am to 2.00pm & 5.00pm to 6.30pm respectively

www.zeitraeumebasel.com

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Would you like to look over composers’ shoulders while they are working? Would you like to ask them what inspires and incites them to open new worlds for us with their works? The biennial ‘Zeiträume Basel’, a cooperation with SUISA, provides you with the opportunity to have a personal chat with authors of the works which are performed during the festival. Text by Erika Weibel

Intriguing insights and concerts at the Zeiträume Festival

Zeiträume Pavilion, meeting point of the festival. It was created by Zeiträume Basel with the support of SUISA and the Basel Canton Bank in co-production with the University for Music FHNW / Music Academy Basel. (Photo: Johanna Köhler)

In cooperation with SUISA, the Festival Zeiträume turns the process of how music is created today into an experience. This is due to the fact that in 2019, a particular...read more

Changes in distribution for Common Tariff K and Z revenues

The CHF 20 limit for the distribution of revenues under Common Tariffs K (concerts) and Z (circuses) has been eliminated. As a result, amounts previously allocated to distribution category 4C will be otherwise regulated. The changes concern points 4.1, 4.2, 5.4 and 5.5 of SUISA’s Distribution Rules. Text by Irène Philipp Ziebold

Changes in distribution for Common Tariff K and Z revenues

SUISA has optimised its distribution rules for revenues from live performances. (Photo: Tabea Hüberli)

Revenues from CT K and CT Z had hitherto been allocated to two different distribution categories. Amounts over CHF 20 per work were allocated to DC 4B “Concerts and other performances with revenues of more than CHF 20 per work”. Distribution in this category was made on a per file basis. On the other hand, performance revenues of less than CHF 20 per work were allocated to DC 4C “Concerts with revenues of up to CHF 20 per work” and were then distributed on a flat-rate basis.

As is in the nature of flat-rate solutions which at best only approximate real circumstances, this practice did not always produce satisfactory results. In the case of DC 4C, a flat point value, calculated based on the revenues and programme information of all the events assigned to this distribution category, was applied.

Distribution based on actual usage is more advantageous

The flat point value actually applied could be higher or lower than the actual point value of an individual event. Therefore, it could happen that entitled parties would receive a higher amount than that actually paid by the organiser in respect of an event for which only the minimum fee under Tariff K had been paid. Naturally, the opposite was equally possible. The changes made in the Distribution Rules now eliminate the potential disadvantage or advantage for the beneficiaries of DC 4C.

In practice, these changes remove the CHF 20 limit and eliminate distribution category 4C altogether. Henceforth, all revenues from CT K and CT Z – regardless of amount or point value per work – will be allocated to and distributed in DC 4B. The rules for DC 4B itself remain unchanged; only the name of this category has been changed. It is now called: “Concerts & concert-like performances.”

The revenues previously allocated to DC 4C will henceforth flow into DC 4B as well. These consist in the allocations from revenues without programme information from Tariffs Hb, L, Ma, 3a, 7, 8, K and Z, as well as Tariff B revenues from orchestra consortia (with programme information).

Overview of changes in Distribution Rules

Here, in a nutshell, are the advantages of the changes in the Distribution Rules:

  • Even smaller amounts will be equitably distributed per file when programme information is available. This corresponds to a per-work distribution where the proceeds from an event will be distributed directly to the entitled parties.
  • Hitherto, only the entitled parties under DC 4C had the benefit of the above-listed allocations. Since both distribution categories (4B and 4C) relate to concert repertoires, there is no objective reason not to take into account DC 4B works in the distribution of allocations. Thanks to these changes, this will now be the case.
  • By introducing per-file distribution for all performances subject to Tariffs K and Z, settlement statements will be more transparent. Members will now be able to clearly see the make-up of their revenues from live performances under this Tariff.

The changes in the Distribution Rules will first be implemented in the September 2019 distribution.

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The CHF 20 limit for the distribution of revenues under Common Tariffs K (concerts) and Z (circuses) has been eliminated. As a result, amounts previously allocated to distribution category 4C will be otherwise regulated. The changes concern points 4.1, 4.2, 5.4 and 5.5 of SUISA’s Distribution Rules. Text by Irène Philipp Ziebold

Changes in distribution for Common Tariff K and Z revenues

SUISA has optimised its distribution rules for revenues from live performances. (Photo: Tabea Hüberli)

Revenues from CT K and CT Z had hitherto been allocated to two different distribution categories. Amounts over CHF 20 per work were allocated to DC 4B “Concerts and other performances with revenues of more than CHF 20 per work”. Distribution in this category was made on a per file basis. On the other hand, performance revenues of less than CHF 20 per work were allocated to...read more

A tribute to Claudio Taddei

On 9 August this year, singer-songwriter and painter Claudio Taddei passed away at the age of 52. Obituary by Rossana Taddei and Sara Ravarelli

A tribute to Claudio Taddei

Rossana and Claudio Taddei. (Photo: Alejandro Persichetti)

Born in Uruguay to parents from Ticino, Claudio grew up between Switzerland and South America, where he embarked on a glittering musical career that took him to the top of the South American charts. In 2002, at the height of his fame in Uruguay, Claudio was struck down by a serious illness that led him to return to Switzerland. Here he alternated periods of intense medical treatment with a busy schedule of concerts and artistic performances, quickly becoming a popular figure in Ticino – a renowned musician and celebratedpainter.

Claudio Taddei began indulging his passion for music in childhood, together with his sister Rossana, who has also enjoyed a successful musical career in Uruguay. A SUISA member for some years now, Rossana wanted to share with us her loving and personal memory of Claudio, as a brother and artist. (Sara Ravarelli)

Dear brother, friend and companion on a journey full of adventures and dreams

A sun, a giant star full of light.
You always loved to trace the path of the sun and to the sun you now return.
There is no farewell because you live on in all your songs, in every brush stroke, in your colours, in our hearts and minds.
Dear brother, friend and companion on a journey full of adventures and dreams, we shared an eternal bond, as if two twins.
Your bright, cheerful, curious eyes reflect the broad smile of your guiding heart. You sang and told your story, your joy, your sadness, your goodness.
Let your true hand now guide the way for all of us who loved you and want to start walking again, to move forward in accepting the pain and void of your absence.
I will miss you, we will miss you. I will fill the hole by singing and telling our story, our being brother and sister.
Creativity always saves us and has always saved us.
Creativity always unites us and has always united us.
It was the strongest thread in our bond and will always be what unites us.
Every image in my memory starts and ends with a heartfelt smile.

Intensely calm
Worryingly intense
Silently noisy
Untidily tidy
Passionately quiet
Quietly passionate
Stubbornly shy
Shyly exuberant
I know you inside out, brother, yet I do not know the depth and infiniteness that you were and continue to be.

Thank you for being a mentor. Life is a gift: you must know how to lead it for the gift to become light.

“Te toca la pena, también la alegría y el amor. No dejes que nada espere, la vida hace siempre lo que quiere, más vale echarle picante y hacer que las cosas se vivan bien pa’delante.”

Rossana Taddei

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All comments will be moderated. This may take some time and we reserve the right not to publish comments that contradict the conditions of use.

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On 9 August this year, singer-songwriter and painter Claudio Taddei passed away at the age of 52. Obituary by Rossana Taddei and Sara Ravarelli

A tribute to Claudio Taddei

Rossana and Claudio Taddei. (Photo: Alejandro Persichetti)

Born in Uruguay to parents from Ticino, Claudio grew up between Switzerland and South America, where he embarked on a glittering musical career that took him to the top of the South American charts. In 2002, at the height of his fame in Uruguay, Claudio was struck down by a serious illness that led him to return to Switzerland. Here he alternated periods of intense medical treatment with a busy schedule of concerts and artistic performances, quickly becoming a popular figure in Ticino – a renowned musician and celebratedpainter.

Claudio Taddei began indulging his passion for music in childhood, together with his sister...read more

“Ab is Wälschland – off to the Valais” to the Swiss Folk Music Festival

In May, five young folk music performers under the direction of Dani Häusler in Crans-Montana in order to compose a hymn for the Swiss Folk Music Festival 2019 (EVMF). The composition weekend, initiated by SUISA and run in collaboration with the organising committee (OC) of the EVMF was a complete success. Text by Sibylle Roth and Manu Leuenberger; Video by Sibylle Roth

Whereas Hanspeter Zehnder created the commissioned composition of the hymn for the Swiss Folk Music Festival in Aarau in 2015 on his own, this year’s intention was to back the next generation. The musicians were selected and contacted by the OC of the EVMF. “In the beginning, I thought that there was some mixup and the inquiry for the composition weekend had been sent to me by mistake. But now I am very honoured and over the moon”, said Alessia Heim in the interview.

During the selection process, care was taken to have the most common instruments in folk music in the representation. It thus followed that Eva Engler, clarinet, Alessia Heim, dulcimer, Jérôme Kuhn, double bass, Florian Wyrsch, Schwyzerörgeli (a diatonic accordeon) and Siro Odermatt, accordeon, met in Crans-Montana on a Saturday morning in May.

Some of the young people already knew each other and had been performing together, whereas for the others it was the first experience of playing outside their usual formation. Apart from Siro Odermatt, who has been a SUISA member since 2017 and has already composed several pieces himself, the young musicians had no big experience in terms of composing. As a consequence, an experienced folk musician, namely Dani Häusler, was hired as the director of the weekend. Even for such an old hand in the trade this was no everyday task: “The biggest challenge was to have the courage to come to this composition weekend without any preparation”, he revealed afterwards.

Participants of the composition weekend

Participants of the composition weekend f.l.t.r. Florian Wyrsch, Alessia Heim, Siro Odermatt, Eva Engler, Jérôme Kuhn, Dani Häusler. (All photos: Sibylle Roth)

Starting with a blank sheet of paper

Before the first notes sounded from the instruments that the musicians had brought along in the seminar room of the hotel “La Prairie”, where the workshop took place, the group sat down at a table and literally started their work with a blank sheet of paper. The first exchange of ideas was influenced by indeterminate ideas and insecure feelings: A hymn – that’s a big word. What is that supposed to be? How is that supposed to sound? What is expected of us? How are we going to go about it? What kind of dance style is suitable? Where do I find melodies and chords? And: Will we really manage to finish a piece by Sunday?

Workshop director Dani Häusler set the group thinking, bundled up questions, they were jointly looking for answers, ideas and thoughts were put to paper, ideas were firmed up, and soon enough a basis for the piece was defined – still on paper though.

After initial discussions on a suitable dance style, the “Schottisch”, the “discipline for kings” was chosen in the end, says Jérôme Kuhn. On top of that, the group wanted to have some lyrics so people could sing along.

Notes

First ideas were put on paper for the piece.

After that, the group played their instruments for the first time: The young people sat together in twos or threes and jointly collected musical ideas. Whatever they had worked out in small groups was later on presented to the full circle and complemented with potential supporting voices. However, as it is the case sometimes, inspiration doesn’t always want to flow when it is expected to. “We had some start-up difficulties, but suddenly it did function”, Eva Engler said in an interview.

The respective musical breakthrough which was worked out in the following for the finished piece, was possible with Siro Odermatt’s compository experience. “I often play pieces that already exist and then meander towards other melodies, that’s how I then find my own composition”, says Siro Odermatt. Thus, after the initial start-up difficulties, the sparkling idea was found on Saturday afternoon, and the framework for the hymn had been finalised by dinnertime.

Said framework also included the draft for the lyrics of the piece, from which, apart from the title exclamation “Ab is Wälschland …!”, a robust recitative immediately sticks to your memory: “Glich oder glich ned glich – the same or not the same after all”. Jérôme Kuhn mentioned the following in the interview: “All over Switzerland, there is folk music, but in many regions there are various styles.” Whether “the same or not the same after all”, that’s for the curious to find out at the upcoming Swiss Folk Music Festival in Crans-Montana.

Group picture showing the musicians at work

The formation “Wälschland Express» during their work on the piece.

The first performance

On Sunday morning, work continued on the individual parts of the piece especially with regards to the arrangement. Whether in groups or alone, musicians practised their individual voices. Dani Häusler provided helpful tips and supported the group with advice and assistance whenever it was necessary to resolve a bit of confusion with varied musical keys or problems with finding the instrumentation and voices.

Music sheets

Dani Häusler writing the first lines of the sheet music.

Once all voices of the individual instruments had been finalised and once Dani Häusler had created the sheet music of the piece, the newly created work was then heard as a whole for the first time. During further practising rounds, it was constantly refined. “It is a piece ‘appealing to the auditory senses’ which has something unique and is yet suitable for a wider audience”, states Siro Odermatt towards the end of the successful composition weekend.

All parties involved are very satisfied with the final result and look forward to the Swiss Folk Music Festival in September. Regarding the question what he was hoping for the piece, Dani Häusler replied: “The most beautiful thing would be if the piece were to be played in the streets by other formations that are appearing at the festival, and if it was already known to people through broadcasts on the radio.”

The short biographies of the young musicians can be found via our social media channels “SUISA Music Stories” on Facebook, Instagram and Youtube.

The hymn was professionally recorded with the musicians and Dani Häusler afterwards, in a studio, and can be bought on CD. The VSV (Association of Swiss Folk Music) young music talent funds benefits from the sales proceeds in their entirety.

The 13th Swiss Folk Music Festival takes place from 19-22 September 2019 in Crans-Montana. www.cransmontana2019.ch

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In May, five young folk music performers under the direction of Dani Häusler in Crans-Montana in order to compose a hymn for the Swiss Folk Music Festival 2019 (EVMF). The composition weekend, initiated by SUISA and run in collaboration with the organising committee (OC) of the EVMF was a complete success. Text by Sibylle Roth and Manu Leuenberger; Video by Sibylle Roth

Whereas Hanspeter Zehnder created the commissioned composition of the hymn for the Swiss Folk Music Festival in Aarau in 2015 on his own, this year’s intention was to back the next generation. The musicians were selected and contacted by the OC of the EVMF. “In the beginning, I thought that there was some mixup and the inquiry for the composition weekend had been sent to me by mistake. But now...read more

A look back at the SUISA General Meeting 2019

Around 150 voting SUISA members attended the annual General Meeting on 21 June 2019 at the Kongresszentrum in Biel to help determine the direction of their cooperative. Among their decisions was the election of Sylvie Reinhard and Grégoire Liechti to the Board of Directors. SUISA members also passed a resolution for fair conditions for music creators in connection with the revision to the copyright law. Text by Giorgio Tebaldi

A look back at the SUISA General Meeting 2019

SUISA members during voting for the Board of Directors for the period 2019-2023 at SUISA’s 2019 General Meeting, 21 June 2019, in the Concert Hall of the Kongresszentrum, Biel. (Photo: Sibylle Roth)

‘Spherical, but more angular than trip hop, more emotionally charged than pop music and as organic as folk’ – that’s how SUISA Vice President Marco Zanotta described Zurich musician Annakin, who opened SUISA’s General Meeting. Together with guitarist Simon Rupp, Philipp Kuhn on keyboards and beatboxer Marzel (alias Marcel Zysset), Annakin – otherwise known as Ann Kathrin Lüthi – played songs from her latest album The End of Eternity, as well as ‘Sting Of Love’ from her 2014 album Stand Your Ground.

While the stage was being rearranged after the brief concert, the assembled SUISA members, guests and SUISA employees were able to watch a video that explained how ‘She Got Me’, the Swiss entry to the Eurovision Song Contest sung by Luca Hänni, came about. The song was written in June 2018 at the SUISA Songwriting Camp by SUISA member Luca Hänni with Canadian songwriters Laurell Barker and Frazer Mac and Swedish producer Jon Hällgren. ‘She Got Me’ reached an outstanding fourth place at the Eurovision grand final, has been streamed more than 30 million times and topped the Swiss single charts.

More women in music

In his welcoming address, SUISA President Xavier Dayer took the occasion of the Swiss women’s strike, which had taken place a week before, as impetus to discuss the proportion of women in music. Women currently represent 16% of SUISA members – leaving plenty of room for improvement. This is one of the reasons that SUISA entered into a partnership with Helvetiarockt in 2019, and invited the coordination and networking centre for jazz, pop and rock musicians to bring an information stand to the general meeting.

Members then approved the Annual Report and Management Report. Also approved were SUISA’s first-ever consolidated accounts, reflecting contributions from the two subsidiaries SUISA Digital Licensing AG and Mint Digital Services in 2018. The general meeting also discharged the Board of Directors, the management team and statutory auditor, and confirmed the mandate for the auditor BDO for 2019.

Sylvie Reinhard and Grégoire Liechti elected to the SUISA Board of Directors

For long-serving Board members Bertrand Liechti and Marco Zanotta, this was their last General Meeting – they are retiring from the SUISA Board after 20 years due to the term limit. In their place, SUISA members elected Sylvie Reinhard, an entrepreneur and Chairwoman of the Board of Directors of the digital magazine ‘Republic’, and Geneva-based music publisher Grégoire Liechti to the Board of Directors. The other 12 Board members, along with the members of the Distribution and Works Committee, were confirmed in office with no objections. At the recommendation of the SUISA Board, the general meeting also elected Marco Zanotta to the ComplaintsCommittee, which was established in 2018.

With the revision in 2018 of SUISA’s Articles of Association and the associated extended responsibilities of the General Meeting, the assembled members voted for the first time on compensation regulations for members of the Board and its committees, and on SUISA’s general investment policy.

Resolution calling for fair copyright legislation

Guest speaker Géraldine Savary, federal councillor and member of the SUISA Board, talked about the ongoing revision of Switzerland’s copyright legislation. In particular, she touched on two points that are critical for music creators. First – if the National Council has its way – hoteliers, owners of holiday homes, hospitals and prisons would not be required to pay copyright fees if their guests, patients or inmates listen to music or watch films on the radio/television devices provided. Second, the new copyright law stipulates a compensation regulation for video on demand (VoD) services that would work in favour of film-makers but would be counter-productive for music creators, as they have already negotiated contractual solutions with the VoD platforms. Accordingly, the use of music must be excluded from this new VoD regulation. The General Meeting passed a resolution in order to draw National Council attention to the importance of these two points in its forthcoming autumn session.

This was followed by updates on the current financial year from Vincent Salvadé, Irène Philipp Ziebold and Andreas Wegelin. Urs Schnell, Director of FONDATION SUISA, then reported on how SUISA’s music promotion foundation had performed in the financial year.

At about 2 pm, Xavier Dayer brought the General Meeting to a close and gave notice of the next General Meeting, which will take place on Friday, 26 June 2020 at the Bierhübeli in Bern.

Afterwards, participants enjoyed a light lunch in the foyer of the Kongresszentrum, an opportunity for SUISA employees, guests and colleagues to talk, sign resolutions, find out about Helvetiarockt projects at the organisation’s stand or even initiate new projects.

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Around 150 voting SUISA members attended the annual General Meeting on 21 June 2019 at the Kongresszentrum in Biel to help determine the direction of their cooperative. Among their decisions was the election of Sylvie Reinhard and Grégoire Liechti to the Board of Directors. SUISA members also passed a resolution for fair conditions for music creators in connection with the revision to the copyright law. Text by Giorgio Tebaldi

A look back at the SUISA General Meeting 2019

SUISA members during voting for the Board of Directors for the period 2019-2023 at SUISA’s 2019 General Meeting, 21 June 2019, in the Concert Hall of the Kongresszentrum, Biel. (Photo: Sibylle Roth)

‘Spherical, but more angular than trip hop, more emotionally charged than pop music and as organic as folk’ – that’s how SUISA Vice President Marco Zanotta described Zurich musician Annakin, who opened...read more

Creating music in the era of contamination

A discussion on the deceptively simple theme of ‘contamination in music’ provided much food for thought, reaffirming the desire to talk about music and ideas, to try to understand one another better and more profoundly. Text by guest author Zeno Gabaglio

Jazz in Bess: Creating music in the era of contamination

Round table discussion on the theme of ‘Creating Music in the Era of Contamination’: (from left to right) Zeno Gabaglio, Nadir Vassena, Maurizio Chiaruttini (moderator), Gabriele Pezzoli and Carlo Piccardi. (Photo: Giorgio Tebaldi)

Writing a report on an event you’ve taken part in comes with one major problem: the conflict of interest. This most partial of creatures precludes any reasonable expectation of objectivity, so readers are warned that every aspect of the account from this point will be marked by the utmost subjectivity.

But let’s rewind: on 7 June 2019, a round table discussion on the theme of ‘Creating Music in the Era of Contamination’ took place in the convivial surroundings of Jazz in Bess in Lugano (the closest thing Ticino has to a Jazz club – but this magical venue deserves an article all of its own…). Four diverse exponents of Ticino’s music scene were invited to take part: Nadir Vassena (a composer, teacher and stalwart of the cultural scene for decades, and someone who has enjoyed considerable success across Europe), Gabriele Pezzoli (a jazz composer and pianist who has pursued a distinctly personal and varied creative path), Carlo Piccardi (a musicologist, director of Rete Due for many years, and one of the most devoted connoisseurs and defenders of Ticino’s musical heritage) and the writer Zeno Gabaglio.

It was an eclectic group – like the proverbial box of chocolates – and their mixed backgrounds alone suggested a range of ideas on music. This wealth of opinions emerged rapidly thanks to the moderation – and encouragement – of Maurizio Chiaruttini, a journalist and former producer at RSI.

Search for an own musical identity

‘Contamination seems to have become almost an imperative in every field of artistic expression: contamination between different genres, contamination between languages – cultural and popular, academic and commercial, acoustic and technological – contamination between cultural idioms of disparate origins. In a context such as this, what does it mean to search for your own musical identity, your own style, your own authentic means of expression?’

This was our starting point and, going against every dramatic rule there is, I can tell you right now that there was no arrival point – or at least, there wasn’t just one. Opinions diverged even on the meaning of the term ‘contamination’: some underlined the essentially negative connotations of the word (which, Vassena reminded us, shares the same root as ‘contagion’), while others agreed its distinctness from concepts such as ‘purity’ and ‘identity’. ‘Contaminated’ musicians, of course, cannot be pure; they inevitably lose a small part of their identity to take on something new.

Keeping the focus on terminology, Gabriele Pezzoli suggested a synonym – ‘hybridisation’ – which is less negatively connoted and more open to the variety of stimuli the modern world offers up, and with which Pezzoli identifies.

Masterpieces are often the result of a process

Carlo Piccardi then started off by reminding us that contamination is a broad historical phenomenon that dates back well before the present day. Major historical works – undisputed masterpieces that are universally recognised as uniform creations – were often the result of a process. But the processes required to create a work are hardly ever reported, and even more rarely remembered. It is in precisely these processes that, during the last two thousand years of European music, contamination has played a decisive role.

As mentioned earlier, we didn’t reach any one conclusion, but this discussion on the apparently simple and narrow theme of “contamination in music” led us to secondary themes and observations that – in an era when you might expect the opposite to be true – reaffirmed our desire to talk about music, to discuss ideas as well as sounds, and to try to understand one another better and more profoundly.

www.jazzinbess.ch

Guest author Zeno Gabaglio is a musician/composer and a SUISA Board member.

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A discussion on the deceptively simple theme of ‘contamination in music’ provided much food for thought, reaffirming the desire to talk about music and ideas, to try to understand one another better and more profoundly. Text by guest author Zeno Gabaglio

Jazz in Bess: Creating music in the era of contamination

Round table discussion on the theme of ‘Creating Music in the Era of Contamination’: (from left to right) Zeno Gabaglio, Nadir Vassena, Maurizio Chiaruttini (moderator), Gabriele Pezzoli and Carlo Piccardi. (Photo: Giorgio Tebaldi)

Writing a report on an event you’ve taken part in comes with one major problem: the conflict of interest. This most partial of creatures precludes any reasonable expectation of objectivity, so readers are warned that every aspect of the account from this point will be marked by the utmost subjectivity.

But let’s rewind: on 7 June 2019, a round table...read more

Summer meeting of the SUISA Board

As in previous years, the summer meeting of the SUISA Board took place on the day before the General Assembly, on Thursday, 20 June 2019, in Biel. Report from the Board by Andreas Wegelin

Summer meeting of the SUISA Board

The SUISA Board held its summer meeting the day before the General Assembly that took place at the Biel/Bienne Congress Centre, as shown in the image. (Photo: Natalie Schlumpf)

In addition to the usual final preparations for the General Assembly, the SUISA Board also noted the comprehensive report by the statutory auditors for the 2018 financial year. In general, the audit gave the management team a good report. However, it also suggested some improvements. The management team has now been tasked by the Board with actioning the proposed improvements.

The prospects for the Mint joint venture, which completed its second year of operation at the end of March 2019, was another important topic for discussion at the board meeting. The Board decided that, as the parent company of Mint, the SUISA cooperative shall provisionally waive the assertion of any claims for work and IT services provided in support of the joint venture company Mint, in the same way as the American partner SESAC.

The Board also addressed the issue of whether SUISA could offer services abroad in the future, in the event that the local collecting society is not working satisfactorily. It will decide in greater detail based on specific cases.

The first year of SUISA Digital Licensing AGThe first year of SUISA Digital Licensing AG
A little more than one and a half years ago, SUISA founded its subsidiary company, SUISA Digital Licensing AG. The subsidiary company has now completed its first business year. A year which was under the auspices of development and brought about a multitude of new findings. It is time for retrospection and a first interim summary. Read more

The Board was once again able to note pleasing distribution results. In June 2019, beneficiaries in Switzerland and abroad received CHF 43.7 million.

Finally, the Board approved changes to the distribution rules and several adjustments to the General terms and conditions of the rights administration agreement, made necessary by the Liechtenstein collecting society regulation and the EU directive on collecting societies. The updated General terms and conditions for rights administration will be supplied to all members shortly. The changes to the distribution rules will be presented via the SUISA publishing channels once they have been approved by the regulatory authority.

After the meetings, the Board members met with heads of department and managers for an evening meal, providing the opportunity for discussion and for getting to know some new senior managers.

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All comments will be moderated. This may take some time and we reserve the right not to publish comments that contradict the conditions of use.

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As in previous years, the summer meeting of the SUISA Board took place on the day before the General Assembly, on Thursday, 20 June 2019, in Biel. Report from the Board by Andreas Wegelin

Summer meeting of the SUISA Board

The SUISA Board held its summer meeting the day before the General Assembly that took place at the Biel/Bienne Congress Centre, as shown in the image. (Photo: Natalie Schlumpf)

In addition to the usual final preparations for the General Assembly, the SUISA Board also noted the comprehensive report by the statutory auditors for the 2018 financial year. In general, the audit gave the management team a good report. However, it also suggested some improvements. The management team has now been tasked by the Board with actioning the proposed improvements.

The prospects for the Mint joint venture, which completed its second...read more

The result of an endless passion for experimentation

The Eclecta duo, made up of Zurich and Winterthur residents Andrina Bollinger and Marena Whitcher, experiments with sounds that defy established definitions and seeks out interdisciplinary exchanges with other art forms. FONDATION SUISA is supporting this project financially with Get Going! funding. Text by guest author Rudolf Amstutz

Eclecta: The result of an endless passion for experimentation

The Eclecta duo. (Photo: Andrea Ebener)

The place where verbal definitions of different arts implode; where stylistic pigeon-holes exist only as relics of past times; where everything can unfold freely and continually move into more and more new arrangements: that is precisely where Eclecta feel at home. Eclecta is a duo featuring Andrina Bollinger and Marena Whitcher, both of whom are solo artists, multi-instrumentalists and singers. And both are, as they describe themselves, “quite simply curious”. Which is something of an understatement. An unadulterated passion for experimentation is their driving force. Although in their late twenties, the couple have not forgotten their youthful enthusiasm, but combine it with mature reflection and are therefore better able to integrate additional elements into their art, which means the result always remains homogeneous.

Andrina Bollinger and Marena Whitcher got to know one another at jazz school, but it was actually the second time they had met. “We had already met as children in the (childrenʼs circus school) ʻCircolino Pipistrelloʼ”, says Bollinger. Whitcher laughs, adding: “But we only found out later that this was the case.” You cannot escape fate, so what was bound to happen inevitably did: “When Marena was asked to do a solo concert, she didnʼt have enough material to be able to fulfil the booking on her own. So she asked me. We then amalgamated our songs, which proved to be the start of everything”, recounts Bollinger.

Their first album from 2016 is called “A Symmetry”, and the play on words concealed in this title says it all, both women are in fact actually confident individuals when it comes to their manner and their art, who have been happy to tread their own path in a large number of collaborations and solo performances. “From the very start, we played two characters that are totally different. Eclecta thrives on this duality, this asymmetry, but at the same time we also have the opportunity to melt into one another”, explains Whitcher, to which Bollinger adds: “We can blend our voices, so that people can hardly distinguish one from the other. The album title describes this ongoing interplay between symmetry and asymmetry.”

The 15 songs, which, as previously mentioned, refuse to be pigeon-holed and deliberately map the stylistic spaces which contribute to the experiment, when added together become an opalescent kaleidoscope of euphoria and melancholy, of passion and thoughtfulness. And listeners still find “A Symmetry” astounding even three years after it first appeared, allowing more and more details to be unveiled: for the protagonists, today the record represents only a snapshot of their artistic process. “On our forthcoming album, which we hope to release at the beginning of 2020, we want to advance this play even further, so that the whole thing continues to become more intermeshed.”

“The Get Going! funding gives us something very precious, namely time. Apart from that, you are never paid for the immensely long period of time it takes to get to grips with specific topics, and to research and write songs.”

What this will sound like, reckon the duo with a wink, “currently remains a secret”. When they talk of their influences, they range from social issues to painting, from theatre to performance art, from literature to philosophy. Whitcher, who has American roots on her fatherʼs side, is enthusiastic about the surrealists and, during her performances, goes into such questions as “What are monsters nowadays and why do we need them?” or “Having first world problems and creating art – do they go together?”. It is also important to Bollinger to integrate political and social topicality into her creative work. Consequently, she writes about such issues as climate change, freedom of thought and digitisation, as well as searching for places where numbers and codes do not control us. She splits her time between Zurich, Berlin and her Engadine homeland, trying to capture the sounds of these different places, because, as she says, “it is crucial where you are when you are creatively active”.

One of these creative playgrounds is also the stage. With instruments and costumes she makes herself, she transforms a performance into a kind of complete artwork. Therefore, in future they want to make increased use of the medium of video in order to lend a visual aspect to their music. But this is only one of what seems like a thousand ideas with which these two musicians are busy. In the end, Eclecta should also be a statement that contradicts the zeitgeist: “In our individualised society, everyone is focused entirely on themselves, never once glancing at what is going on around them.” Whitcher believes “Yet community is a basic requirement of humans”, and Bollinger adds: “I already see it as one of our jobs to reflect the world in our art and to encourage a different way of thinking.”

In any event, they regard the Get Going! funding from FONDATION SUISA as something that offers them a great deal of freedom. “It gives us something very precious, namely time”, comments Bollinger. “Precisely”, emphasises Whitcher, “apart from that, you are never paid for the immensely long period of time it takes to get to grips with specific topics, and to research and write songs”. When you look at it this way, Eclecta is a fine example of this kind of encouragement, because both of these young ladies are venturing down paths that so far remain untrodden and now no longer risk falling between two stools with their passion for experimentation.

www.eclecta.ch

FONDATION SUISA started awarding new grants in 2018. Under the heading of “Get Going!”, creative and artistic processes that do not fall within established categories are given a financial jump-start. Our Portrait Series profiles recipients of Get Going! funding.

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The Eclecta duo, made up of Zurich and Winterthur residents Andrina Bollinger and Marena Whitcher, experiments with sounds that defy established definitions and seeks out interdisciplinary exchanges with other art forms. FONDATION SUISA is supporting this project financially with Get Going! funding. Text by guest author Rudolf Amstutz

Eclecta: The result of an endless passion for experimentation

The Eclecta duo. (Photo: Andrea Ebener)

The place where verbal definitions of different arts implode; where stylistic pigeon-holes exist only as relics of past times; where everything can unfold freely and continually move into more and more new arrangements: that is precisely where Eclecta feel at home. Eclecta is a duo featuring Andrina Bollinger and Marena Whitcher, both of whom are solo artists, multi-instrumentalists and singers. And both are, as they describe themselves, “quite simply curious”. Which is something of an understatement. An unadulterated passion...read more