“It would be nice if this crisis would lead to some sort of a raised awareness”

During the corona crisis, SUISA’s “Music for Tomorrow” project provides a platform for some members to report on their creative activities and the challenges they are facing during this period. This time, Zurich musician and songwriter Anna Känzig tells how it feels when one concert cancellation after the other flutters into her house and why she hasn’t lost her courage despite of that. For “Music for Tomorrow”, she exclusively performed her song “House of Cards”, which nicely describes the current circumstances.  Text by Nina Müller; video by Anna Känzig, edited by Nina Müller

Anna Känzig (35) was already very musical at a young age. She learned to play the guitar at the age of five. Later, the bass and the piano followed, and her school education also took place in the musical field. At the Zurich University of the Arts (ZHdK) she completed her Bachelor’s degree in the jazz department and since 2009, Känzig has been an integral part of the Swiss music scene. With her clear voice, the Zurich native has already thrilled audiences at the Montreux Jazz Festival, Gurten Festival, Energy Air and the finals of the Elite Model Look 2016.

She has been under contract with Sony Music Switzerland since 2014 and has already produced three albums, the first one still on the Nation Music label. She produced the album “Sound and Fury”, which also features on “House of Cards”, together with music producer Georg Schlunegger from Hitmill, and Lars Norgren, who also works with Swedish pop musician Tove Lo, mixed the album.

In 2016, her song “Lion’s Heart” was the anthem of the fundraising campaign “Every Rappen Counts”. Anna Känzig is the first woman to contribute the official song for the fundraising campaign by the SRF and the Swiss Solidarity organisation “Glückskette”.

“House of Cards”

For “Music for Tomorrow”, Anna Känzig performed and recorded the song “House of Cards”. On the play, she says: “The song actually describes the current situation very well. It is about the fact that situations can change from one day to the next and despite meticulous planning everything can suddenly be different. The song was written a few years ago and has been a fixed part of my live programme ever since.

Anna Känzig, what does your working day as a composer/lyricist look like during the corona pandemic?
I try to use the resulting compulsory break as creatively as possible. At the beginning of the corona crisis, I found this extremely difficult, as the whole situation paralysed me. Every day new concert cancellations fluttered in, and the planned single release suddenly didn’t seem to make much sense anymore. At some point I was able to free myself from this lethargy and found my creative flow again. I dug out a lot of song ideas that had been lying fallow until then and barricaded myself in my band room with them. Meanwhile many new songs have been written, at best material for a new album!

What does this crisis mean for you personally?
Due to the crisis I suddenly had to deal with myself and my work much more intensively again. The collective foreclosure triggered a creative impulse in me. Since no more live concerts were allowed to be played, personal contact with the audience broke off abruptly. Many concerts have been moved to the internet, which I personally didn’t really like. I understand that alternative forms have to be found, but especially with streaming concerts an essential part of cultural enjoyment is lost for me. In the meantime, smaller concerts are allowed again, and I notice more than ever that this exchange of energy between musicians and audience is simply irreplaceable.

How can the audience support you at the moment?
In quite a classic way: Buying albums and songs always helps. Of course, this does not always have to happen via the large platforms. It helps us most when the music is bought directly from us, via our webshop, or upon personal request. Streaming is also possible, but here the revenues per stream are very low. Social media certainly also play a role in supporting the artist. A Like is not a payment, but the attention and sharing of contributions in social media helps us to expand our reach and, at best, to gain new fans.

Would it help if people on Spotify and Co. streamed your music more often?
Streaming helps to a small extent, sure. But it would be much better if people would consume the music on platforms where they can buy the individual tracks. It would be nice if this crisis would raise awareness and people would be more willing to pay for the consumption of culture again.

In your opinion, what positive things could the current situation bring about?
I hope that the lack of cultural experiences and adventures triggered by the corona crisis will create a new hunger for live encounters among people and that something like a concert visit will be much more appreciated again.

What do you want to give your fans to take away from this interview?
I am looking forward to welcoming my fans at a live concert again soon!

www.annakaenzig.com

“Music for Tomorrow”
The Covid-19 crisis has hit SUISA’s members particularly hard. The main source of income for many composers and publishers has completely been lost: Performances of any kind have been prohibited by the Federal Government until further notice. In the coming weeks, we will be posting portraits of some of our members on the SUISAblog. They will tell us what moves them during the Covid-19 crisis, what their challenges are and what their working day currently looks like. The musicians also performed and filmed their own composition for the SUISAblog at home or in their studio. SUISA pays the musicians a fee for this campaign.
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  1. Guten Tag Nina,
    danke für deinen Beitrag! Ein sehr wichtiges Thema was du da ansprichst. Es war und ist auch immer noch für uns alle eine schwere und ungewohnte Zeit.

    Liebe Grüße
    Christoph

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During the corona crisis, SUISA’s “Music for Tomorrow” project provides a platform for some members to report on their creative activities and the challenges they are facing during this period. This time, Zurich musician and songwriter Anna Känzig tells how it feels when one concert cancellation after the other flutters into her house and why she hasn’t lost her courage despite of that. For “Music for Tomorrow”, she exclusively performed her song “House of Cards”, which nicely describes the current circumstances.  Text by Nina Müller; video by Anna Känzig, edited by Nina Müller

Anna Känzig (35) was already very musical at a young age. She learned to play the guitar at the age of five. Later, the bass and the piano followed, and her school education also took place in the musical field. At the...read more

Report of the task force of the SUISA Board of Directors – end of June 2020

In April 2020, SUISA’s Board of Directors set up a working group to respond as quickly as possible to the negative financial impact of the Covid-19 crisis on SUISA and to identify cost-saving measures together with the Executive Committee.

Report of the task force of the SUISA Board of Directors - end of June 2020

In view of the expected negative economic consequences of the lockdown on SUISA, initial cost-saving measures were taken and a corona budget was drawn up. (Photo: Yuttapon Busu / Shutterstock.com)

Several meetings were held for this purpose, and we would like to share with all SUISA members the main points arising from these ongoing discussions.

The Executive Committee estimates that the losses in connection with the Covid-19 crisis currently amount to around 25% of budgeted revenues for 2020. Initial cost-cutting measures have already been taken to reduce costs, provided that negative impacts on SUISA’s regular operations and important development projects (e.g. online access to “My Account” for members, self-service portal for clients) are avoided.

The issue of short-time work was discussed as a possible solution to reduce costs. SUISA’s Executive Committee drew the attention of the task force to the fact that short-time work would currently have a negative impact on the collection of royalty income, especially in the area of smaller performances, and on SUISA’s regular operations. Although almost all concerts between the end of March and the end of May were cancelled, the work of SUISA’s staff has not yet decreased significantly, partly because additional services such as the emergency support fund are now being provided for members.

The Executive Committee drew up a corona budget, which now serves as a reference basis (the budget for 2020, which was adopted in autumn 2019, is no longer realistic due to the crisis). In the corona budget, the reduction in collections is offset by using the funds normally released for our supplementary distributions to cover costs. For this purpose, an upper limit was set for the use of the released totals. It is therefore unlikely that there will be any supplementary distribution next year.

The task force clearly spoke out against an increase of the current maximum deduction of costs of 15% in the distributions to members. The Executive Committee is therefore urged to undertake all reasonable cost savings.

The task force and the Executive Committee are well aware that the economic consequences of the lockdown and especially the ban on events in spring 2020 may linger on for longer and that they are not yet immediately visible: It will therefore examine all realistic savings measures not only in the short but also in the medium term. In this context, it is also important to consider which services could then no longer be provided to members for cost reasons.

All the above items were approved by the Committee for Finance and Controlling and the Board of Directors.

The task force will continue to meet monthly with the Executive Committee to discuss further developments. It will report to the full Board of Directors at every opportunity so that the latter can take decisions quickly if the situation so requires.

The task force:

Xavier Dayer
Marco Neeser
Rainer Bischof
Roman Camenzind

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In April 2020, SUISA’s Board of Directors set up a working group to respond as quickly as possible to the negative financial impact of the Covid-19 crisis on SUISA and to identify cost-saving measures together with the Executive Committee.

Report of the task force of the SUISA Board of Directors - end of June 2020

In view of the expected negative economic consequences of the lockdown on SUISA, initial cost-saving measures were taken and a corona budget was drawn up. (Photo: Yuttapon Busu / Shutterstock.com)

Several meetings were held for this purpose, and we would like to share with all SUISA members the main points arising from these ongoing discussions.

The Executive Committee estimates that the losses in connection with the Covid-19 crisis currently amount to around 25% of budgeted revenues for 2020. Initial cost-cutting measures have already been taken to reduce costs, provided that negative impacts on SUISA’s regular...read more

Corona budget up to the end of May has been met

For the second time, the Board of Directors had to hold its regular meetings as video conferences due to corona. Of course, the financial situation due to the pandemic was also the most important topic at these meetings. Report from the Board of Directors by Andreas Wegelin

Corona budget up to the end of May has been met

The impact of the corona crisis on the financial situation of the Cooperative was the main topic at the meetings of SUISA’s Board of Directors on 25 and 26 June 2020. (Photo: Bartolomiej Pietrzyk / Shutterstock.com)

The Board of Directors took note of the revenue figures up to the end of May 2020, which have fallen by 15.5% compared to the original budget for performing rights. In terms of total sales, the decline is still 7.7%. The Executive Committee therefore presented a corona budget as early as April. The budget could be met until the end of May. Revenues are even slightly higher (+3.1%).

It is important to know, however, that these revenues generated by the end of May originate from the time before the cancellation of all events. The impact on revenues due to the events that have been cancelled since mid-March will only be felt in the second half of the year. Savings were made on the cost side (–3%), but the current bonds and securities situation had a negative impact.

Audit report, Mint, PRS

The Board of Directors also acknowledged the comprehensive report of the auditors, BDO, and discussed various report points with the Executive Committee.

With regard to the joint venture Mint Digital Services with the American society SESAC, the Board of Directors was informed about the planning of licensing activities in the coming months and the roadmap 2020–24. It is planned to extend the direct licensing of our repertoire to India, Australasia and Africa. In this context, the Board of Directors decided to grant guarantees for the licensing of large publishing catalogues.

The renewal of the reciprocal representation agreement with the English sister society PRS was also a topic at the Board meeting. PRS is taking a critical stance regarding the deductions from revenues for social purposes as provided for in our Articles of Association. This could lead to a revision of the Articles of Association after further negotiations with the PRS.

Waiver of attendance fees in favour of emergency fund

In view of the difficult situation for many cultural performers and especially for SUISA members, the Board of Directors decided to waive its attendance fees in favour of SUISA’s recently established emergency fund. Executive Committee members also waive parts of their salaries in a similar amount in favour of a reduction in personnel costs.

Report of the task force of the SUISA Board of Directors – end of June 2020
In April 2020, SUISA’s Board of Directors set up a working group to respond as quickly as possible to the negative financial impact of the Covid-19 crisis on SUISA and to identify cost-saving measures together with the Executive Committee. Read more
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For the second time, the Board of Directors had to hold its regular meetings as video conferences due to corona. Of course, the financial situation due to the pandemic was also the most important topic at these meetings. Report from the Board of Directors by Andreas Wegelin

Corona budget up to the end of May has been met

The impact of the corona crisis on the financial situation of the Cooperative was the main topic at the meetings of SUISA’s Board of Directors on 25 and 26 June 2020. (Photo: Bartolomiej Pietrzyk / Shutterstock.com)

The Board of Directors took note of the revenue figures up to the end of May 2020, which have fallen by 15.5% compared to the original budget for performing rights. In terms of total sales, the decline is still 7.7%. The Executive Committee therefore presented a corona budget as early...read more

SUISA General Meeting: Emergency fund for authors and publishers approved

SUISAʼs General Meeting approved the emergency fund for composers, lyricists and publishers of music in the amount of CHF 1.5 million. In addition, Swiss yodeller, singer, composer and publisher Melanie Oesch was elected to the SUISA Board. For the first time in SUISAʼs history, the General Meeting was held in written form due to the Covid-19 pandemic this year. Text by Giorgio Tebaldi; interview with Melanie Oesch by Erika Weibel; video by Nina Müller

SUISAʼs General Meeting should have been held this year on 26 June at the Bierhübeli in Bern. Due to the Covid-19 pandemic and the ban on events imposed in March, the SUISA Board decided in April to hold the General Meeting in written form. For the first time in the Cooperativeʼs history, SUISA members were able to vote and elect by post and, in the case of some members from abroad, by e-mail.

Covid-19: Emergency fund for authors and publishers

In addition to statutory business such as approving the annual accounts or granting the discharge to the SUISA Board and the auditing firm BDO, the emergency fund for authors and publishers was one of the most important items on the agenda of this yearʼs General Meeting. In view of the current precarious situation for music professionals, the SUISA Board decided on 6 April 2020 that SUISA should make additional funds available to cover losses in copyright royalties incurred by SUISA members due to the cancellation of events and closure of businesses ordered by the authorities. The fund of CHF 1.5 million is intended to compensate composers, lyricists and publishers of music who find themselves in distress as a result of the corona crisis for proven loss of SUISA-related income. The General Meetingapproved the relief fund by a large majority.

Michael Hug elected to the Distribution and Works Commission

In addition, two by-elections were held at this yearʼs General Assembly. To replace Grégoire Liechti, who was elected to the SUISA Executive Committee last year, music publisher Michael Hug was elected to the Distribution and Works Commission (VWK) for the current term of office until 2023.

Michael Hug is Managing Director of the Ruh Musik AG publishing house, founded in 1910. The publishing house is nationally and internationally renowned for the publication of wind music; the catalogue also includes numerous works of classical and choral music. Michael Hug and his wife took over the company from his father in 2009. He recognised the signs of the times early on and digitised his entire catalogue. In 2012, the foundation for music promotion of SUISA, the FONDATION SUISA, awarded him a prize for his digital distribution platform for sheet music; at the time, the jury particularly emphasised his innovative spirit and sustainable concept. Michael Hug is 55 years old and – like all his predecessors in the publishing house – is also musically active himself.

Melanie Oesch new on the SUISA Board of Directors

A by-election was also necessary for SUISAʼsBoard of Directors, following the unexpected death of Reto Parolari, conductor, composer and long-standing member of theBoard, in December 2019. The Swiss yodeller, singer, composer and publisher Melanie Oesch (Oeschʼs die Dritten) was newly elected to SUISAʼs Boardfor the current term of office until 2023.

Melanie Oesch is, as part of Oeschʼs die Dritten, one of the most successful representatives of traditional folklore music. Melanie Oesch is 33 years old and has been a member of SUISA since 2006.

In a video interview, she tells us what SUISA means to her: “SUISAʼs work is very important to me. I would never have the time to claim the money I am entitled to everywhere myself and I also lack the knowledge about it.” She particularly appreciates SUISAʼs expertise: “I am glad SUISA has so many professionals who have been working on this issue for years and who are committed to it”, says Melanie Oesch.

Melanie Oesch was very pleased and honoured by the question whether she would like to become a member of the Board. She would like to bring her experience as a folk musician to the Board: “In folk music there are many pieces which are very old. It is often not clear whether the composers are still alive and where [the pieces] are published.” The type of pieces in folk music is also special. “For example, a yodel doesnʼt have a classical text, and yet it has a kind of text,” explains the Bernese-born artist.

As a member of the Board, Melanie Oesch would like to change something about the disagreements between organisers and artists. According to her assessment, certain organisers feel disadvantaged because they are small and have the feeling of having to pay a lot anyway. She would like to improve mediation between SUISA and the organisers.

Altogether 1576 composers, text authors, music publishers and heirs participated in the written voting and electing process. An overview of the results of the SUISA General Meeting 2020 can be found at www.suisa.ch/generalmeeting

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SUISAʼs General Meeting approved the emergency fund for composers, lyricists and publishers of music in the amount of CHF 1.5 million. In addition, Swiss yodeller, singer, composer and publisher Melanie Oesch was elected to the SUISA Board. For the first time in SUISAʼs history, the General Meeting was held in written form due to the Covid-19 pandemic this year. Text by Giorgio Tebaldi; interview with Melanie Oesch by Erika Weibel; video by Nina Müller

SUISAʼs General Meeting should have been held this year on 26 June at the Bierhübeli in Bern. Due to the Covid-19 pandemic and the ban on events imposed in March, the SUISA Board decided in April to hold the General Meeting in written form. For the first time in the Cooperativeʼs history, SUISA members were able to vote...read more

«Get Going!» goes into the third round

«Get Going!» enables new perspectives: The idea of «Get Going!» is based on the philosophy of «making it possible». «Get Going!» consist of a start-up financing. Four such contributions of CHF 25 000.- each per year are advertised. Text by FONDATION SUISA

«Get Going!» goes into the third round

The recipients of the “Get Going!” contributions 2019 (from top left to bottom right): Anna Gosteli, Michel Barengo, Jessiquoi, Félix Bergeron (Iynnu) and Jérémie Zwahlen. (Photos: zVg)

«Get Going!» should be accessible to as many musically creative people as possible. Musicians should be restricted as little as possible in their creative ideas.

«Get Going!» 2020: Call for applications

Application deadline: 31.08.2020

The call for applications is intended to be broadly open and deliberately avoids the usual categories of musical genre, age or project.

Applications may be submitted by authors and musicians who can demonstrate a clear connection with the current Swiss or Liechtenstein music making.

Please note that:

  • We will not accept any additional documents, neither in electronic form nor as hard copies
  • We shall neither engage in any correspondence nor give any information by phone about the selection procedure and the final decision
  • If necessary, the jury may request further information
  • The jury, consisting of four members of the Board of Trustees, will evaluate the applications and make the final selection. The substance and originality of the applicant’s submission will play a decisive role in the selection.

To apply:

You have until 31.08.2020 to fill out the online form below:

«Get Going!» 2020 application form

In the course of autumn 2020, the jury will consider the submitted dossiers. You will then receive feedback on your application.

www.fondation-suisa.ch/en/work-grants

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«Get Going!» enables new perspectives: The idea of «Get Going!» is based on the philosophy of «making it possible». «Get Going!» consist of a start-up financing. Four such contributions of CHF 25 000.- each per year are advertised. Text by FONDATION SUISA

«Get Going!» goes into the third round

The recipients of the “Get Going!” contributions 2019 (from top left to bottom right): Anna Gosteli, Michel Barengo, Jessiquoi, Félix Bergeron (Iynnu) and Jérémie Zwahlen. (Photos: zVg)

«Get Going!» should be accessible to as many musically creative people as possible. Musicians should be restricted as little as possible in their creative ideas.

«Get Going!» 2020: Call for applications

Application deadline: 31.08.2020

The call for applications is intended to be broadly open and deliberately avoids the usual categories of musical genre, age or project.

Applications may be submitted by authors and musicians who can demonstrate a clear connection...read more

Willy Viteka, the successful music publisher and music producer has passed away

Willy Viteka, an entrepreneur who made a significant contribution to the Swiss music industry as a classical producer-music publisher, passed away on 19 May 2020. Obituary by guest author Stephan F. Peterer

Willy Viteka, the successful music publisher and music producer has passed away

Willy Viteka was a long-standing member of SUISA both as an author and as a publisher. (Photo: zVg)

Born in Madrid on 6 November 1949, he discovered a great enthusiasm for the various arts at an early age and studied art, literature and music with determination. He built up his extensive knowledge and network in the music industry by working in important locations of the western music scene and thus was able to gain extensive experience. In particular, he used part of his “journeyman years” in the 1970s, which were particularly important for the music scene, as a studio musician, producer, author and editor in London, which had a special influence on him.

Producer, publisher and entrepreneur

After his years of travelling, he settled in Switzerland in 1976, together with his beloved wife Olivia, from where the committed couple built up and ran their company, Viteka Musik AG, which included both their own labels and musichouses. But Willy also remained connected to his original home country. In particular, he carried out his production activities in his favourite place, Mallorca, and built a second home together with Olivia. It is there they were always to be found in the music studio.

Within the scope of his entrepreneurial activities, he specialized, in addition to his own music production, in the classical activity of a sub-publisher in Switzerland and had many important works in his catalogue: among others by Kylie Minogue, Milva, Rick Astley, Bananarama, Donna Summer, Cliff Richard, Aitken & Watermann and many more.

Great commitment to the Swiss music industry

Willy Viteka recognised early on that music publishers and producers not only have to be creative and entrepreneurial, but that they also have to fight for an economically viable environment. Although there were already a large number of associations in the music industry in Switzerland at this time, he was unable to find one as a “production-oriented publisher” and immediately sought like-minded entrepreneurs to found a new association together with them. This is why one might as well call him the creative father of the SVMV, the Swiss Association of Music Publishers, which he presided over for 27 years. In 2019, he was appointed honorary president for his great services. He was also intensively involved in the founding of the ASMP, the “Association of Swiss Music Producers”, which he chaired simultaneously to the SVMV.

However, the work was not done with the establishment of industry associations, as these also required activities to achieve the desired effects. This includes exerting influence in important bodies of the Swiss music industry, in a large number of ad hoc commissions and above all in the legislative authorities. Mutual training and exchange between entrepreneurs and, in particular, the training of young people in the sector also became an important activity, as there were no specialised schools and universities for these professions in Switzerland. For example, Willy organised training events over the years together with members of the board of the association he initiated and with the constant help of his wife Olivia as secretary. These culminated in the two-day music symposium in Fürigen, which became the most important annual professional event in the music industry calendar.

With the revision of the copyright law in the 1980s and the resulting establishment of neighbouring rights, Swissperform was subsequently founded, in which Willy was involved as a delegate from the very beginning. He was also a member of the Expert Committee of Phono Producers for several years. For many years, he has also participated in the copyright discussions of the Institute of Intellectual Property (IPI), as well as in the development of standard contracts for music publishers, sub-publishers and producers.

Died at the age of 70

After being hospitalised due to an accident, Willy Viteka was, on top of that, infected with Covid-19. Although he was still cured of the virus itself, he was so weakened by the disease that he succumbed to pneumonia at the age of 70, which he contracted during convalescence.

We will remember Willy as an extraordinarily good-natured and warm person, who with his approachable manner and great dedication has forged many friendships in the Swiss music industry and beyond.

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Willy Viteka, an entrepreneur who made a significant contribution to the Swiss music industry as a classical producer-music publisher, passed away on 19 May 2020. Obituary by guest author Stephan F. Peterer

Willy Viteka, the successful music publisher and music producer has passed away

Willy Viteka was a long-standing member of SUISA both as an author and as a publisher. (Photo: zVg)

Born in Madrid on 6 November 1949, he discovered a great enthusiasm for the various arts at an early age and studied art, literature and music with determination. He built up his extensive knowledge and network in the music industry by working in important locations of the western music scene and thus was able to gain extensive experience. In particular, he used part of his “journeyman years” in the 1970s, which were particularly important for the music scene, as a studio musician, producer,...read more

“The crisis feels a little like being in a rehab clinic to me”

During the corona crisis, via its project “Music for Tomorrow”, SUISA is providing a platform for some members to report on their work and the challenges they are facing during this period. This time round, the Valaisian musician and songwriter Tanya Barany tells us why she hopes that people in this crisis have focussed their awareness of things like care, appreciation, solidarity or reflection and exclusively performs her song “Cotton Clouds”. Text by Giorgio Tebaldi; video by Tanya Barany, complemented by Nina Müller

“Dark like my British humour, but with a touch of fresh mountain air,” is how Tanya Barany describes her “Dark Pop”. Born and grown up in the Upper Valais, Tanja Zimmermann, that is what she is actually called, found her way to music at an early age: “I’ve been singing, dancing and performing all my life. The stages have simply become a bit bigger over time,” she says in a written interview. “What was once my bed has mutated into a Gampel Open Air stage.” Her musical career began with her first solo appearance with guitar at a children’s hit parade at the age of 11. At the age of 14 she founded the girl power trio Labyrinthzero, with which she released her first EP with her own compositions and played over 150 concerts at home and abroad.

Found a musical home

Decisive for her musical career was the encounter with Jonas Ruppen, who plays keyboard in her band and creates the videos: “He showed me the world of Radiohead, James Blake, etc. – and suddenly I had found my musical home!” The two have been playing music together for ten years now and work together on the overall concept of “Tanya Barany” – Tanya as songwriter and Jonas as video producer.

She began her musical education in 2014 by studying music at the Zurich University of the Arts, where she says that she was able to benefit from great teachers. “At the same time, I learned how to use the recording program LogicX, which took my songwriting in a completely different direction – my ‘Dark Pop’ saw the light of day!”

The debut album “Lights Disappear”

In 2019, Tanya Barany’s debut album “Lights Disappear” was released. Several performances on stages at home and abroad followed, e.g. Gampel Open Air, Zermatt Unplugged, Swiss Live Talents or at the Blue Balls Festival.

Besides her project Tanya Barany, she is a full-time studio singer and musician, songwriter, lyricist and vocal coach.

“Cotton Clouds”

For “Music for Tomorrow” Tanya Barany performed and recorded the song “Cotton Clouds”. She says the following about the work: “‘Cotton Clouds’ describes the feeling of immersion in water where suddenly everything around becomes silent; where suddenly another world appears. One the one hand, the water walls are depressing (almost oppressive), on the other hand they remind us of the security of an embrace. ‘Cotton Clouds’ is my unreleased hidden track. Like my songs on the album ‘Lights Disappear’, ‘Cotton Clouds’ grew out of the dark corner of my heart, but the track didn’t find a place on the album. I had composed ‘Cotton Clouds’ on the piano at that time; I prefer to play the piano alone for myself, without anyone listening to me. I chose ‘Cotton Clouds’ for ‘Music for Tomorrow’, because I want to invite the audience into my little lounge and take you on a little personal journey … :-)”

Tanya Barany, what does your working day as a composer/lyricist look like during the corona pandemic?
Tanya Barany: At the moment, I have more time to convert my song ideas into finished songs. Therefore, I try to generate as much output as possible – not only for me as Tanya Barany, but also as a ghostwriter for other artists. My partner, David Friedli – also a musician and composer – and I often write together. We move in all possible style directions – from folk to rock to pop to electro pop to soul etc. – it’s really fun!

What does this crisis mean for you personally?
The crisis feels a little like being in a rehab clinic to me. I don’t really want to be there – I miss performing live, cultural life and even planning ahead – who would have thought – and I can’t wait for normality to return.
On the other hand, this crisis also brings something valuable with it: Time! The world just seems to revolve a bit more slowly. Suddenly I am allowed to concentrate on things that are not necessarily on my having to do list but on the nice to do list – that feels incredibly good! This time has made “Reboot” possible, now I feel much more energetic and creative than before the crisis.

How can the audience support you at the moment?
My audience can best support me by telling all my friends and relatives about my music and telling them to buy the “Lights Disappear” CD! 🙂 Dark songs help through dark times … 🙂

Would it help if people on Spotify and Co. streamed your music more often?
When selecting live acts, the organisers look at the number of “listeners” on Spotify, YouTube etc. Therefore, it is surely an advantage if my music is streamed regularly on these platforms. It is also nice to see that my songs are even heard on the other side of the world! But to support me as an artist directly, I am always very grateful for purchased music on iTunes etc. or directly at concerts.

What do you think the current situation could bring with it?
I very much hope that people’s awareness will be sharpened somewhat – on all levels! A little more care, appreciation, solidarity, reflection – that would do us all good!

What do you want to give your fans to take away from this interview?
Dear fans, although it seems to be quieter around Tanya Barany at the moment, I’m working diligently in the background on a new concept, so that it will be even more cracking afterwards – so enjoy the calm before the storm! 🙂 I am already looking forward to presenting you new songs! Thanks for your support so far! Take care <3

www.tanyabarany.ch

“Music for Tomorrow”
The Covid-19 crisis has hit SUISA’s members particularly hard. The main source of income for many composers and publishers has completely been lost: Performances of any kind have been prohibited by the Federal Government until further notice. In the coming weeks, we will be posting portraits of some of our members on the SUISAblog. They will tell us what moves them during the Covid-19 crisis, what their challenges are and what their working day currently looks like. The musicians also performed and filmed their own composition for the SUISAblog at home or in their studio. SUISA pays the musicians a fee for this campaign.
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During the corona crisis, via its project “Music for Tomorrow”, SUISA is providing a platform for some members to report on their work and the challenges they are facing during this period. This time round, the Valaisian musician and songwriter Tanya Barany tells us why she hopes that people in this crisis have focussed their awareness of things like care, appreciation, solidarity or reflection and exclusively performs her song “Cotton Clouds”. Text by Giorgio Tebaldi; video by Tanya Barany, complemented by Nina Müller

“Dark like my British humour, but with a touch of fresh mountain air,” is how Tanya Barany describes her “Dark Pop”. Born and grown up in the Upper Valais, Tanja Zimmermann, that is what she is actually called, found her way to music at an early age: “I’ve been...read more

Night of Light: SUISA is committed to the event and culture industries

On Monday, 22 June 2020, from 10 pm to midnight, buildings throughout Switzerland were bathed in red light. The occasion was the “Night of Light”. The aim of this action was to draw the attention of the general public to the fact that many organisers and cultural operators are in a precarious situation due to the Corona crisis. SUISA also took part in this campaign and had its headquarters in Zurich illuminated in red. Text by Giorgio Tebaldi; Video by Nina Müller

On Monday evening, more than 900 buildings throughout Switzerland were lit up red. From 10 p.m. to midnight, companies and organisations joined forces in the “Night of Light” campaign to set an example for the event and culture industry, which has been particularly hard hit by the corona crisis.

As a cooperative society of composers, lyricists and music publishers, SUISA also took part in the “Night of Light” and bathed its headquarters in Zurich Wollishofen in red light for two hours. Pictures of this campaign can be seen in the video. SUISA is thus committed to serving the interests of its members, the authors and publishers of music in Switzerland and Liechtenstein, as well as its clients in the event and cultural industries.

The aim of the campaign was to make the public and politicians aware of the precarious situation of the event and culture industries caused by the corona crisis. The coordinators, associations from the event and culture industries, want to discuss with political leaders in the context of a sector dialogue how the multi-billion-dollar, heterogeneous event and culture industry can be saved from a massive wave of insolvencies and how thousands of jobs throughout Switzerland can be preserved.

“The events industry was the first sector of the economy to be hit by the Covid 19 crisis and it is very likely that it will also be affected the longest and most profoundly by its effects,” write the organisers of the Swiss “Night of Light”. From 16 March 2020 onwards, the working basis of an entire commercial sector has been made massively more difficult, and concerts, festivals, theatre performances, business events were until recently completely impossible, and even now are only possible with difficulty.

Even though the Federal Council announced further relaxation measures on 19 June 2020 and now allows events for up to 1,000 people, subject to compliance with appropriate safety and hygiene concepts, the situation in the event and culture industries remains extremely difficult. Firstly, events such as tours often require a planning period of several months and therefore cannot be repeated from one day to the next. Secondly, many events can hardly be carried out economically even with the new relaxation measures, as the organisers still have to comply with strict regulations.

In addition, the entitlement to short-time work for persons in a similar position to employers expired at the end of May and the conditions for support payments were tightened. This particularly affects SMEs and freelancers from the event industry and the circle of cultural workers, as these professional areas are largely made up of small owner-managed companies and self-employed persons. The event industry and creators and artists are therefore urgently dependent on the support being continued until normal operations are possible again.

SUISA supports the demands of cultural associations to continue their support measures for organisers and creators and artist. Otherwise there is a risk that many of these self-employed people, small and micro-enterprises will have to file for bankruptcy and disappear from the Swiss cultural landscape. Ultimately, thousands of jobs are at stake in an industry with an annual turnover of 70 billion Swiss francs.

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From forte to pianissimo in just a few beatsFrom forte to pianissimo in just a few beats In 2019, SUISA recorded its best results in its 96-yrear history, with total revenues of CHF 171 million. Moreover, thanks to the excellent investment year in 2019, its investment performance also attained record heights. After deducting an average cost-coverage contribution of 13% from total royalty revenues of CHF 155.2 million, SUISA will be able to distribute CHF 135 million to rightholders in Switzerland and abroad. And yet, three months on, everything has changed. Read more
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On Monday, 22 June 2020, from 10 pm to midnight, buildings throughout Switzerland were bathed in red light. The occasion was the “Night of Light”. The aim of this action was to draw the attention of the general public to the fact that many organisers and cultural operators are in a precarious situation due to the Corona crisis. SUISA also took part in this campaign and had its headquarters in Zurich illuminated in red. Text by Giorgio Tebaldi; Video by Nina Müller

On Monday evening, more than 900 buildings throughout Switzerland were lit up red. From 10 p.m. to midnight, companies and organisations joined forces in the “Night of Light” campaign to set an example for the event and culture industry, which has been particularly hard hit by the corona crisis.

As a...read more

From forte to pianissimo in just a few beats

In 2019, SUISA recorded its best results in its 96-yrear history, with total revenues of CHF 171 million. Moreover, thanks to the excellent investment year in 2019, its investment performance also attained record heights. After deducting an average cost-coverage contribution of 13% from total royalty revenues of CHF 155.2 million, SUISA will be able to distribute CHF 135 million to rightholders in Switzerland and abroad. And yet, three months on, everything has changed. By Andreas Wegelin, CEO

From forte to pianissimo in just a few beats

Three months after SUISA’s gratifying 2019 financial statements, instruments in concert halls fell silent. (Photo: VTT Studio / Shutterstock.com)

No sooner had SUISA announced its best results in its 96-year history, than a general ban was imposed on all public events, and all venues were shut down in March 2020, triggering an unprecedented negative record: one after the other, concerts, shows and dance events were cancelled. Overnight, bookings were struck from musicians’ calendars. In concert venues, musical instruments fell silent.

This cannot fail to impact SUISA’s business. Owing to the coronavirus pandemic, we are currently assuming that SUISA’s total revenues – and therefore the amount available for distribution – will fall by up to 25% by the end of 2020. Nobody can tell for sure today, much will depend on how the epidemic develops here and abroad, but a hefty recession seems imminent. It will take time to get back to normalcy, and we expect recovery to be no more than hesitant next year too.

In this crisis, SUISA is determined to prove itself a reliable partner both for music creators and music users. Appropriate measures have been put in place to support musicians, and an accommodating approach has been adopted towards customer payments. Meanwhile, new online forms of music performance are becoming more important as a source of royalties. Streaming may be the technology of the hour, but it only brings authors and music publishers a fraction of the revenues generated by live concerts.

“In this crisis, SUISA is determined to prove itself a reliable partner both for music creators and music users.”

SUISA has remained and remains active during the corona crisis. We are the hub for inquiries from members and customers. Although there are fewer events, we intend to maintain and even expand our services through automation. Unfortunately, the Board and the Executive Committee will not be able to welcome members personally to the General Meeting in Bern this year. To have a say in SUISA’s affairs, members will have to send in their vote by post. We encourage you to make use of this opportunity.

In any event, the employees at our three offices in Zurich, Lugano and Lausanne remain at your disposal. When work is slow, staff will be able to attend training courses; moreover, we are working full speed to develop online self-service services to give you more time to focus on your strengths. Making music, innovating, promoting. Despite the corona crisis, I wish you a challenging and productive summer.

SUISA matters: SUISAinfo 3.20, digital only
This autumn, the News for SUISA members will be sent by e-mail in digital format only. To contain costs in this difficult year, the hardcopy printed version will not be produced. SUISA provides regular news updates via www.suisa.ch, www.suisablog.ch, and SUISA Music Stories on Instagram, Facebook and Youtube. (Manu Leuenberger)
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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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In 2019, SUISA recorded its best results in its 96-yrear history, with total revenues of CHF 171 million. Moreover, thanks to the excellent investment year in 2019, its investment performance also attained record heights. After deducting an average cost-coverage contribution of 13% from total royalty revenues of CHF 155.2 million, SUISA will be able to distribute CHF 135 million to rightholders in Switzerland and abroad. And yet, three months on, everything has changed. By Andreas Wegelin, CEO

From forte to pianissimo in just a few beats

Three months after SUISA’s gratifying 2019 financial statements, instruments in concert halls fell silent. (Photo: VTT Studio / Shutterstock.com)

No sooner had SUISA announced its best results in its 96-year history, than a general ban was imposed on all public events, and all venues were shut down in March 2020, triggering an unprecedented negative record: one...read more

Support for SUISA members during the corona crisis

Following the federal COVID-19 ordinances, music usage plummeted depriving authors and publishers of a significant portion of their royalty revenues. SUISA offers its members financial support to bridge the loss in earnings. Text by Irène Philipp Ziebold

Support for SUISA members during the corona crisis

No concerts means no revenues from performing rights. Instead, Kety Fusco played live music from her home for the SUISAblog “Music for Tomorrow” series and for SUISA Music Stories on social media. (Photo: screen shot video Kety Fusco)

Cancelled concerts, closed shops and cinema theatres, reduced advertising on radio and TV – the consequences of the federal measures against the spread of the coronavirus have a direct impact on rights management revenues: if there is no music usage, there is no royalty income.

SUISA offers its members financial support to bridge the loss in earnings:

Advances

First and foremost, SUISA has the option, as it has always had, to grant advances to its members. Both authors and publishers can qualify for an advance. The amount of the advance is based on the member’s average revenues in the preceding years. Advances can only be granted to members who have earned more than CHF 500 on average in royalties in recent years. Members may apply for an advance by email. Applications are processed within seven days. The decision is communicated in writing by email. If the applicant satisfies the qualification criteria, the advance will be paid immediately by bank transfer.

Under normal circumstances, advances are offset against the member’s next settlement. This means that the amount advanced is deducted from the distributable amount. As an immediate measure in the exceptional context of the corona pandemic, SUISA’s Board has decided that advances would not be offset before June 2021 at the earliest. The Board and the Executive Committee are keeping a close eye on the crisis situation and, depending on economic developments, may decide to further postpone the offsetting of such advances. In any event, repayment of these advances will not be due before June 2021 at the earliest.

Support payments for members

If an advance is insufficient to alleviate the existential financial hardship suffered by a member as a result of the loss in royalty revenues, the member may apply to SUISA for support payments. SUISA’s Pension Fund makes funds available to authors in the event of an emergency. As a further immediate measure, the Executive Committee has decided to create an additional emergency relief fund from which support payments can be made to authors and publishers alike. The emergency relief fund still has to be ratified by the General Meeting by postal voting.

In the framework of its rights administration responsibilities, SUISA provides support to members who suffer a loss in their royalty revenues. However, only limited funds are available for support payments. SUISA members who are not already receiving hardship relief from the emergency fund of Suisseculture Sociale or under other cantonal measures may apply for support payments from SUISA.

Applicants must prove their financial hardship. Applications for support payments can be submitted via the members’ portal “My account”. Application documentation will be processed within seven days. Decisions are communicated in writing by email. Payment is made by bank transfer as soon as an application is approved. Support payments do not have to be repaid.

Federal support measures and other aid

The financial support provided by SUISA is designed to help bridge a shortfall in royalty income. SUISA’s support is supplemental – not in lieu of or as an alternative to federal support measures. Information about the measures introduced by the Swiss government to alleviate the economic consequences of the corona pandemic on the cultural sector is available (in German, French and Italian) on the website of the Federal Office of Culture (FOC): www.bak.admin.ch/bak/de/home/themen/coronavirus.html

The Swiss cultural foundation Pro Helvetia also publishes continuously updated information at: www.prohelvetia.ch/en/dossier/info-hub-covid-19/

Go to: www.suisseculture.ch for information about the emergency relief fund for cultural workers, and a link to the application portal. Applications for immediate aid can be submitted through this portal.

Helpful information for musicians is also available on the website of Sonart, the professional association of freelance musicians in Switzerland.

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Leave a Reply

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.

Your email address will not be published.

Following the federal COVID-19 ordinances, music usage plummeted depriving authors and publishers of a significant portion of their royalty revenues. SUISA offers its members financial support to bridge the loss in earnings. Text by Irène Philipp Ziebold

Support for SUISA members during the corona crisis

No concerts means no revenues from performing rights. Instead, Kety Fusco played live music from her home for the SUISAblog “Music for Tomorrow” series and for SUISA Music Stories on social media. (Photo: screen shot video Kety Fusco)

Cancelled concerts, closed shops and cinema theatres, reduced advertising on radio and TV – the consequences of the federal measures against the spread of the coronavirus have a direct impact on rights management revenues: if there is no music usage, there is no royalty income.

SUISA offers its members financial support to bridge the loss in earnings:

Advances

First and foremost,...read more