Author Archives: Manu Leuenberger

“Techno and ländler music are very closely related to each other”

Electronically processed everyday sounds are combined with elements of ländler music to create a new listening experience: this is what the double bass player and composer, Pirmin Huber, wants to develop and realise for his new project. The “Get Going!” grant is supporting him with this project. Text/interview by guest author Rudolf Amstutz

Pirmin Huber: “Techno and ländler music are very closely related to each other”

The Schwyz composer and double bass player Pirmin Huber. (Photo: Arthur Häberli)

The Schwyz composer and double bass player, Pirmin Huber, has been experimenting with new ways of combining Swiss folk music with other genres to create new sounds since he completed his jazz studies (majoring in composition) at the Lucerne University of Applied Sciences and Arts. Whether as a soloist or as a member of the “Ländlerorchester” (Ländler Orchestra), “Stereo Kulisse”, “Ambäck” or of the “Gläuffig” formation: Huber redefines folk music and blends it with techno, jazz, classical or electronic music. Now Pirmin Huber wants to conduct a type of “field recording” research with the help of electronically manipulated everyday noises and the folk music sounds of his double base and other instruments he plays. The whole thing should lead to a work that challenges our listening habits, thus reflecting the world at this extraordinary time.

Pirmin Huber, how did the idea for this project come about?
Pirmin Huber: I started out playing folk music, that is to say acoustic music, and I have increasingly delved into electronic music. By tinkering with new recording techniques, I have come up with ideas that I want to develop further. I grew up on a farm, and we also had a carpenter’s workshop there. I was as fascinated by the sounds of the saw as I was by all the other sounds, and I already tried to imitate them with my musical instruments at that time. In my “Get Going!” project, I start with the sounds I can create with my instruments, double bass, Schwyzerörgeli (an accordion first made in the canton of Schwyz), guitar, piano or Glarus zither, and combine them with typical everyday sounds that I make seem unfamiliar with the help of electronic music. Since my youth, I have been asking myself the following question: how can you make music from these sounds. Now I can afford quite a few tools, thus giving me the opportunity to get deeply involved with the project.

What comes first? The sound collection and then the composition or is it the other way around?
It’s a mixture of the two. New opportunities keep opening up while I work. It’s all part of the process. It’s important to me that I create a very specific mood with my music. The finished work will consist of several pieces that flow together or at least relate to each other. It could be described as a type of suite.

You shift from one style to the next with ease. As a double bass player, you always set the tone. Can connections or interfaces between folk music, classical music, jazz, pop, rock or techno be identified from this position?
Perhaps. In any case, techno and ländler music are very closely related genres. This may be difficult to understand from the outside (laughs), but the energy that comes from playing is the same for techno as it is for ländler music, which is after all also dance music. I think you first have to have played both to experience this common feature. In my project, I am trying to create a kind of modern ländler music with electronics and grooves.

Nature and urban life: do you get the inspiration you need from these conflicting elements?
I need both. As soon as one of them is no longer there, it feels like something is missing. That’s probably why it’s logical that I want to bring these two opposing poles together. I’ve had three strings to my bow for a long time: folk music, contemporary music and techno. However, I feel that they are one.

The “Get Going!” grant is intended to provide start-up financing without any result-related expectations. What do you think of this funding model?
I think it’s great! The freedom it gives us serves as motivation to really achieve something great. After all, I had conceived the idea for my project a long time ago, but then things kept getting in the way. And much ultimately depends on whether you can afford to execute such a project and also implement it without any stress. “Get Going!” allows me to do just that.

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. Each year, our Portrait Series profiles recipients of Get Going! funding.
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Electronically processed everyday sounds are combined with elements of ländler music to create a new listening experience: this is what the double bass player and composer, Pirmin Huber, wants to develop and realise for his new project. The “Get Going!” grant is supporting him with this project. Text/interview by guest author Rudolf Amstutz

Pirmin Huber: “Techno and ländler music are very closely related to each other”

The Schwyz composer and double bass player Pirmin Huber. (Photo: Arthur Häberli)

The Schwyz composer and double bass player, Pirmin Huber, has been experimenting with new ways of combining Swiss folk music with other genres to create new sounds since he completed his jazz studies (majoring in composition) at the Lucerne University of Applied Sciences and Arts. Whether as a soloist or as a member of the “Ländlerorchester” (Ländler Orchestra), “Stereo Kulisse”, “Ambäck” or of the “Gläuffig” formation: Huber redefines...read more

Erika Hug: Committed and combative

SUISA and FONDATION SUISA are mourning Erika Hug. The publisher and entrepreneur had been influencing the promotion of Swiss music creation for more than three decades, on the SUISA Board of Directors, as a co-founder of FONDATION SUISA and as the president of the foundation board. She passed away unexpectedly on 14 July 2021 at the age of 76. Obituary by Andreas Wegelin and Urs Schnell

Erika Hug: Committed and combative

Erika Hug (1945-2021). (Photo: FONDATION SUISA / Musik Hug)

The Swiss music scene is mourning the loss of Erika Hug, publisher and owner of the established and traditional music business. She passed away completely unexpectedly on 14 July 2021.

Erika Hug had taken on leadership of the renowned Zurich music company as a young woman in the sixth generation. Apart from traditional publishing and sheet music business, the company grew well in the 1980s and entered the new sales business with CDs at an early stage. With her husband, German music entrepreneur Eckard Harke, the sales of music instruments also saw a strong development. One speciality were the two Steinway Piano Galleries in Lausanne and Zurich.

The profound changes in the music business in the course of internet digitisation led to a decline in demand for sheet music, sound recordings or instruments after the turn of the millennium. The Swiss-wide branch network was reduced at the start of the 2000s and the company was finally sold in 2017.

Contribution at SUISA and FONDATION SUISA

Over many years, Erika Hug had been giving her know-how and experience as an entrepreneur to the Cooperative Society, SUISA and the FONDATION SUISA by way of being a member of the SUISA Board of Directors and of the Pension Board of the FONDATION SUISA. From 1985 to 1995, Erika Hug was a Board member of the Cooperative Society SUISA and President of their committee for international relations.

Erika Hug was a founder member of the SUISA foundation for music (today: FONDATION SUISA) in 1989. For 27 years, until the end of 2015, she had been a member of the Foundation Board. From 1990 onwards, Erika Hug first presided the Finance Committee of the Foundation, from 1996 onwards, she became Vice President. Finally, from 2005 she led the Foundation for 10 years as President of the Foundation Board.

Erika Hug had been a major influence on the Cooperative Society and the Foundation over the last 30 years as a publisher and expert in the music business sector. She got involved when it came to access to music and to playing an instrument, especially also with respect to the younger generation and less well-off members of society. The project “make music in the classroom” of FONDATION SUISA is a proof for this. Erika Hug was also a fighter for more women in music and in business.

We mourn a great Swiss personality when it comes to bringing music to the people, and we are grateful for her commitment in the managing committees of our Cooperative Society and Foundation and would like to express our heartfelt condolences to her family.

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  1. Ho avuto il piacere di lavorare con Erika Hug per 14 anni nel Consiglio di fondazione della Fondazione Suisa per la musica e, di questa donna, ho sempre apprezzato la chiarezza d’intenti nel promuovere la musica “Made in Switzerland”, la tenacia e le brillanti idee.
    Un’altra sua qualità che ho sempre apprezzato in lei era la capacità di saper mettere a proprio agio le persone, di saperle ascoltare e, se le idee che venivano proposte le sembravano buone, di impegnarsi nella realizzazione senza mai risparmiarsi.
    Di lei serberò sicuramente un buon ricordo.
    R.I.P. Erika

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SUISA and FONDATION SUISA are mourning Erika Hug. The publisher and entrepreneur had been influencing the promotion of Swiss music creation for more than three decades, on the SUISA Board of Directors, as a co-founder of FONDATION SUISA and as the president of the foundation board. She passed away unexpectedly on 14 July 2021 at the age of 76. Obituary by Andreas Wegelin and Urs Schnell

Erika Hug: Committed and combative

Erika Hug (1945-2021). (Photo: FONDATION SUISA / Musik Hug)

The Swiss music scene is mourning the loss of Erika Hug, publisher and owner of the established and traditional music business. She passed away completely unexpectedly on 14 July 2021.

Erika Hug had taken on leadership of the renowned Zurich music company as a young woman in the sixth generation. Apart from traditional publishing and sheet music business, the...read more

SUISA Talks at the Zeiträume Festival Basel 2021

Enjoy ten days of contemporary music and experience how the works, often composed especially for the festival, play with their surroundings, ensnare them or engage with them in a kind of dispute. That is the quintessence of the biennial Zeiträume Festival Basel. Text by Erika Weibel

SUISA Talks at the Zeiträume Festival Basel 2021

Zeiträume Basel Festival pavilion in 2019. (Photo: Anna Katharina Scheidegger)

The fourth instalment of the biennial event for new music and architecture carries the festival title “Die Verwandlung” (‘the transformation’) and offers an extraordinary programme between 9 and 19 September 2021 with more than 20 productions and 20+ premières at more than 30 venues in Basel. Current focal points of urban development are made accessible and exciting new productions by many artists are played there.

Apart from numerous concerts and sound installations, you can also dive into the working environment of the composers during the festival. As such, many SUISA talks take place in the festival pavilion.

SUISA Talks, in the festival pavilion and at the Mittlere Brücke (‘Middle Bridge’)
Greifengasse 1, 4058 Basel
Admission free.

Saturday 4 September 2021
at 11:15, Eleni Ralli & Alexander Grebtschenko – Dialogues & Chimeras
at 13:15, Wanja Aloé – Vor Ort
at 15:15, Marianne Schuppe – Die Summe
at 17:15, Linus Riegger, Clemens Fiechter – Phase 4

Sunday 5 September 2021
at 11:15, Sibylle Hauert (tbc) – H.E.I. Kaserne
at 13:15, Dakota Wayne – Sonic Spaces im Klybeck
15:15 – 16:00, Ah Young Hong (soprano) & Vera Hiltbrunner (soprano) – Poppaea
at 17:15, Jannik Giger – Blind Audition

Tuesday 7 September 2021
at 17:15, Phoebe Bognar & Maria Muñoz – Sonic Spaces im Klybeck

Friday 10 September 2021
at 13:15, Dimitri de Perrot (tbc) – Niemandsland
at 17:15, Paul Brauner – Sonic Spaces im Klybeck

Saturday 11 September 2021
at 11:15, Hansjürgen Wäldele – Son et Lumière: Snurglond
at 13:15, Michael Hersch (composition) & Stephanie Fleischmann (libretto) – Poppaea
at 15:15, Klaus Lang – pflaumenblüten.
at 17:15, Helena Winkelmann – pflaumenblüten.

Sunday 12 September 2021
at 11:15, Eleni Ralli & Alexander Grebtschenko – Dialogues & Chimeras
at 13:15, tbc
at 15:15, Sebastian Mathias, Mila Pavicevic, Meret Kündig – Urban Creatures
at 17:15, Focus topic: IGNM Basel, with Marianne Schuppe & Xenia Fünfschilling

Friday 17 September 2021
at 11:15, Alfred Zimmerlin & Robert Torche – Grenzbahnhof
at 13:15, Michel Roth – Spiel Hölle
at 18:15, Yaron Deutsch (Ensemble Nikel) – Oratorium

Saturday 18 Septemer 2021
at 11:15, Focus topic: Zeitgenössische Musik Szene in Basel
at 13:15, Katharina Rosenberger – Urban Morphologies
at 15:15, Focus topic: Nachhaltiges Bauen

Throw a glance behind the scenes in an open conversation with composers, architects, artists and contributors of the festival.

The pavilion at the Mittlere Brücke is the centrepiece of the festival. This is where you can immerse yourself in the sounds, spaces and themes of the festival in talks, performances, installations as well as at the cocktail bar and meet the artists behind the festival productions in person.

The pavilion (Buol & Zünd), sustainably created with the support of SUISA and planned for multi-year use, will be staged again in a new, transformed form. In the middle of the city, the festival presents itself in an open, accessible and playful way – with numerous musical actions, a sounding cable car, kinetic sound objects and changing cocktails from 3 to 19 September.

Join us and be enchanted by a Basel reinterpreted for you.

www.zeitraeumebasel.com

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Enjoy ten days of contemporary music and experience how the works, often composed especially for the festival, play with their surroundings, ensnare them or engage with them in a kind of dispute. That is the quintessence of the biennial Zeiträume Festival Basel. Text by Erika Weibel

SUISA Talks at the Zeiträume Festival Basel 2021

Zeiträume Basel Festival pavilion in 2019. (Photo: Anna Katharina Scheidegger)

The fourth instalment of the biennial event for new music and architecture carries the festival title “Die Verwandlung” (‘the transformation’) and offers an extraordinary programme between 9 and 19 September 2021 with more than 20 productions and 20+ premières at more than 30 venues in Basel. Current focal points of urban development are made accessible and exciting new productions by many artists are played there.

Apart from numerous concerts and sound installations, you can also dive into the...read more

New login procedure for the “My Account” member portal

On 7 September 2021 SUISA is introducing a new login two-factor authentication procedure for the “My Account” member portal. This means that when you log in, you will need to enter an individually generated code in addition to your password. This procedure is designed to enhance the protection of your personal data and to enable you to manage your own account in future. This article describes what you have to do for continued access to your SUISA data. Text by Claudia Kempf

New login procedure for the “My Account” member portal

On 7 September 2021, SUISA will activate the new login process for the “My Account” member portal. (Photo: ArthurStock / Shutterstock.com, edited by Nina Müller)

Security is important to us. To ensure even stronger protection of your data, we are introducing a two-factor authentication process for “My Account”. This login procedure requires you to enter two different codes as unequivocal proof of identity to access your personal account.

In future, apart from your username and password, you need a code which will be generated each time you log in. This login procedure with two security factors – password and code – is called two-factor authentication. When dealing with sensitive data, it is especially worthwhile to have a second security step in addition to a secure password to safeguard the data against unauthorised access.

What possibilities does the new login process offer?

The enhanced security level will facilitate your future use of “My Account”. You can henceforth choose your own username and no longer need to log in with the “M number” (previously the fixed login number) assigned to you by SUISA.

Moreover, you can manage your own user account and grant an own access to third parties, e.g. your manager. You can also authorise their access to services, or restrict such access. You can decide, for example, to authorise a third party to view your works but not your settlement statements, or to permit them to register works on your behalf.

How will the change-over to the new login process work?

On 7 September 2021, we will activate the new login process. Existing logins will no longer be valid from this date. To continue to use “My Account” thereafter, please re-register after 7 September 2021 under www.suisa.ch/my-account. All existing “My Account” users will receive their new registration particulars for this purpose by post as of mid-August. These registration particulars are valid for 30 days and can only be used once.

How does the first login work?

First of all, you must open a new user account for yourself and select a username and password for that account. Then you can enter the registration particulars sent to you by post and activate your own personal “My Account” profile. Finally, as Administrator, you can open a user account for other persons and grant them access to your data.

Only the login procedure has been modified. None of your existing entries – e.g. particulars for the registration of works or works registrations that have already been filed – are affected by the change and you can continue to access them as before in your “My Account”.

Thanks to the two-factor authentication process, access to your data can be structured more flexibly. Moroever, the new process will enhance the security of “My Account” and we will consequently be able to extend our offer of online services for members.

For questions about registration and login, please refer to the following functions under www.suisa.ch/my-account:

  • Step-by-step instructions (PDF) will guide you through the login process.
  • Please check our help area for answers to the most common questions.
No access to “My Account” yet?
Order your registration particulars at: www.suisa.ch/my-account
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On 7 September 2021 SUISA is introducing a new login two-factor authentication procedure for the “My Account” member portal. This means that when you log in, you will need to enter an individually generated code in addition to your password. This procedure is designed to enhance the protection of your personal data and to enable you to manage your own account in future. This article describes what you have to do for continued access to your SUISA data. Text by Claudia Kempf

New login procedure for the “My Account” member portal

On 7 September 2021, SUISA will activate the new login process for the “My Account” member portal. (Photo: ArthurStock / Shutterstock.com, edited by Nina Müller)

Security is important to us. To ensure even stronger protection of your data, we are introducing a two-factor authentication process for “My Account”. This login procedure...read more

SUISA Board of Directors holds a physical meeting for the first time in 15 months

On the day before the General Meeting, the SUISA Board and its committees usually hold a physical meeting at the venue of the General Meeting. This year, it was different for the second time in a row. Report from the Board of Directors by Andreas Wegelin

SUISA Board of Directors holds a physical meeting for the first time in 15 months

SUISA partition wall set up at a venue: The meeting of a nearly full Board of Directors took place for its regular June sessions in Muri near Berne. (Photo: Natalie Schlumpf & Wolfgang Rudigier)

While the General Meeting could only take place by postal vote due to the precautionary measures taken in the context with the corona pandemic for the second time, the Board of Directors decided to hold a physical meeting for the first time in 15 months in Muri near Berne on 24 and 25 June 2021, adhering to the prescribed protective measures.

Except for one Board member who did not want to expose itself to a heightened risk of getting infected due to imminent concert performances and therefore took part via video, all of the members of the Board of Directors joined the Executive Committee in the meeting and cherished the opportunity to be able to have an exchange outside the meetings in the evening.

Encouraging perspectives in the online licensing business

The Board of Directors received a thorough report on the annual results of the subsidiary Mint Digital Services, jointly held with SESAC, whose financial year had ended on 31 March. The result is encouraging even if the organisation needs to receive further support. Perspectives for the new financial year are looking up and are going to improve the earnings situation further. It is important to know that the bundling of the copyright of our members with the rights of large publishers and sister societies lead to a situation whereby we can act in the online licensing market with more market power and subsequently negotiate better conditions with the online providers of music.

On 1 July 2021, the Act on Collective Management Organisations entered into force in the Principality of Liechtenstein. It contains, among others, provisions to cater for transparency among collective management organisations. The EU Directive of 2014 has thus been implemented. So that SUISA can take these provisions into account, the code of conduct and the rules on the disclosure of conflicts of interest at Board level were adapted. There are also new disclosure obligations for the Executive Committee. The Board of Directors has passed the respective documents.

Amendments to the budget due to Covid-19

The Board of Directors has adapted the budget to the continuing corona situation for the current year. As early as in December 2020, a cautious budget had been passed for 2021. Nevertheless, the income side must be adjusted to reflect a minus of 1.5% which is expected compared to the original budget. Expenditure is anticipated to be 2.2% less.

Another topic at the meeting was the situation regarding the handling of the double taxation provisions between the Italian sister society SIAE and SUISA. SUISA, just like other European sister societies, is going to approach the Italian tax authorities in order to keep withholding tax deductions for SUISA rights owner members who have their residence outside of Switzerland as low as possible.

Finally, the Board of Directors approved an amendment to the distribution rules regarding the pay-out of licensing income of streaming and download platforms. For another amendment regarding the question how long SUISA can process adjustment distributions for online usages, the Board is going to wait for a more detailed report by the Executive Committee.

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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 the day before the General Meeting, the SUISA Board and its committees usually hold a physical meeting at the venue of the General Meeting. This year, it was different for the second time in a row. Report from the Board of Directors by Andreas Wegelin

SUISA Board of Directors holds a physical meeting for the first time in 15 months

SUISA partition wall set up at a venue: The meeting of a nearly full Board of Directors took place for its regular June sessions in Muri near Berne. (Photo: Natalie Schlumpf & Wolfgang Rudigier)

While the General Meeting could only take place by postal vote due to the precautionary measures taken in the context with the corona pandemic for the second time, the Board of Directors decided to hold a physical meeting for the first time in 15 months in Muri near Berne on 24 and 25...read more

The sound of the mountain

For the first time ever, the Floating Notes Festival will be held at the San Bernardino in Graubünden this year. Floating Notes is all about experimental music. In this blog, festival organisers and performers describe how the unique landscape is influencing music and the performances. SUISA is a sponsoring partner of the festival. Guest contribution by Elena Rotondi

Floating Notes Festival: The sound of the mountain

The Floating Notes Festival is going to take place from 23 to 25 July 2021 in Mesocco near the San Bernardino. (Photo: Sebastiano Piattini)

Kety Fusco, founder and programme director of the Floating Notes Festival has a rather specific idea what the heartbeat of her festival is going to be: The performers are going to engage in experimental and unpublished sound research that adapts to the place of the performance, taking into consideration their own artistic and musical backgrounds, and that will make it impossible to separate the content of the performance from the place where it has been created. As a consequence, the Floating Notes Festival is going to be completely new event because music and venue will be brought together in a unique performance. Kety Fusco will launch the opening night of the festival at the spring of the San Bernardino (GR) with her electronic harp on Friday, 23 July.

This, she tells us, shall be the manifest of the idea which stands behind the festival: the desire to unite the aesthetics and history of the San Bernardino, to revive a place which has, historically, always been a point of attraction for international travellers and which still pulls many visitors thanks to the untouched beauty you can still find in some places. All of this with a view to the future with the atmospheric, innovative and experimental music which is going to populate the environment and fill it with new meaning.

The performers appearing in the programme have been asked how the creative process was influencing their preparation for the festival and their performance on stage. Camilla Sparksss who is going to perform in the Fonte Minerale in the evening, tells us how she is experimenting with a live set specially for the Floating Notes Festival: “Sounds are created which, in my view, come rather close to the sound of the mountain and its gravitas, with its echoes and its dangers. It is going to be a performance which could be perceived as very experimental by people. But you just have to close your eyes and imagine a journey into the interior of the rocks in order to become one with the mountains.”

It is also interesting how Adriano Koch, a young musician, who is going to conclude the evening on Friday, 23 July, links his appearance to the place where he is going to perform: “It is always motivating to see how a place or a venue can change the energy and the artistic message of a song. As such, it is important to me to record a performance in order to preserve this special moment which will never happen again.”

This festival in Graubünden could not continue without the present of the pioneer of instrumental and sound research: The next day, Saturday 24 July, Simon Berz is going to perform a live concert with stones on the San Bernardino pass. The musician explains: “I have created my instrument TECTONIC from volcanic sound stones which I found in Iceland. The stones are now going to sound in another ‘stone room’, the one in San Bernardino.”

The Floating Notes Festival also excels by an event which connects music and body: a guided meditation by Keri Gonzato who will be accompanied with music by Federica Furlani, alias Effe Effe, played back from a sound recording. A soundscape, just made for meditation at more than 2,000 metres above sea level.

The soundtrack of the festival will be premièred on Saturday, 24 July. Ticino-based musician Chiara Dubey has been commissioned with the soundtrack. She describes the creative process of her composition as follows: “In the beginning, there was the idea that I would probably be inspired by the sounds of natural elements into which I would delve into upon my arrival at the San Bernardino. For example, the rustle of the fir trees or the lapping of the water. Since this concert is my first pre-taste of the mountains after a weird year of communal solitude and deafening silence, I decided that I would look inwards for this piece: I was listening to my thoughts and it seemed as if I was finding an old friend again after a long time. I am sure that I was not the only one who had this experience. And I hope that both for me and all attendees it will be liberating to let this song, ‘Stranger’ rumble in the night of the festival, also because our stage will be surrounded by a spectacular mountainous landscape, by a raw, natural, free beauty.”

The closing act of Saturday evening will be Peter Kernel, a well-known duo from Ticino that will be part of the festival in an unusual context and with an equally unusual performance. As such, Aris Bassetti and Barbara Lehnhoff are not going to perform as a typical rock band but prepare an exclusive DJ set which consists of music from the past and will lead us into the future so that it best resonates in the crevices of the surrounding mountains: “For us, it is a central issue to create a certain connection with the audience; we must understand each other in order to create an unforgettable experience. For Floating Notes, we decided to do something exclusive, something that we usually don’t do. We will not perform a normal concert but an experimental DJ set. We will play music which somehow fits well into the context of the mountains and fresh air and we will try to mix it in our own way.”

The Floating Notes Festival is going to take place from 23 to 25 July 2021 in Mesocco (GR) near the San Bernardino. Swiss artists Kety Fusco, Camilla Sparksss, Chiara Dubey, Leoni Leoni, Peter Kernel and Adriano Koch, Federica Furlani (Effe Effe) from Italy and the Icelandic musician Simon Berz are going to perform at the festival. There will also be a guided meditation by Keri Gonzato. Further information can be accessed at www.facebook.com/floatingnotesfestival.
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For the first time ever, the Floating Notes Festival will be held at the San Bernardino in Graubünden this year. Floating Notes is all about experimental music. In this blog, festival organisers and performers describe how the unique landscape is influencing music and the performances. SUISA is a sponsoring partner of the festival. Guest contribution by Elena Rotondi

Floating Notes Festival: The sound of the mountain

The Floating Notes Festival is going to take place from 23 to 25 July 2021 in Mesocco near the San Bernardino. (Photo: Sebastiano Piattini)

Kety Fusco, founder and programme director of the Floating Notes Festival has a rather specific idea what the heartbeat of her festival is going to be: The performers are going to engage in experimental and unpublished sound research that adapts to the place of the performance, taking into consideration their own...read more

“Get Going!” goes into the fourth round

Since 2018, “Get Going!” has been a regular feature of the support portfolio of the FONDATION SUISA. Now the kick-off financing programme which promotes innovative creative approaches outside the usual “pigeonholes”, enters its fourth round. Text by FONDATION SUISA

Fondation Suisa: “Get Going!” goes into the fourth round

Last year’s recipients of “Get Going!” (Clockwise from the top left) Isandro Ojeda-García, OY, Réka Csiszér, Pirmin Huber. (Photos: Caio Licínio; Sash Seurat Samson; Romina Kalsi; Gian Marco Castelberg)

When invitations to tender for “Get Going!” were launched for the first time, in 2018, it was “a shot in the dark”, says Urs Schnell, Director of the FONDATION SUISA. Back then, the idea was to look ahead. “Instead of patting an artist on the back after the fact by awarding them a prize, we now invest the money available to us into the future instead.”

So far, four “Get Going!” contributions of CHF 25,000 each have been allocated three times. The unabated interest in this promotion process underlines the changing conditions that music creators find themselves in with respect to many issues. Since the kick-off financing is not linked to a result, it allows musicians to work free from financial and time-related pressures. “On the one hand, the environment over the last years has become more hectic, on the other hand, the pandemic has left many in a void. You can look at it from any which angle, the time factor has become a commodity that should not be underestimated”, explains Schnell.

Applications for “Get Going!” contributions until 30 August 2021

“Get Going!” is aimed at innovative and creative projects that are in danger of falling through the cracks in any conventional application system. FONDATION SUISA intends to move towards artists with “Get Going!”, says Schnell, and adds: “We want to move free creative thinking back into the centre of interest.”

From now on, creators, authors and musicians who can prove a clear relation to current music creation in Switzerland or Liechtenstein, can apply again for “Get Going!”. Four of those kick-off financing packages of CHF 25,000 each will be granted by an expert jury again this year. The deadline to submit applications is 30 August 2021.

In order to show what “Get Going!” actually offers in terms of opportunities, we are going to publish portraits of the recipients of last year’s “Get Going!” contributions on the FONDATION SUISA website and the SUISAblog over the next few weeks.

“Get Going!” on the website of FONDATION SUISA

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Since 2018, “Get Going!” has been a regular feature of the support portfolio of the FONDATION SUISA. Now the kick-off financing programme which promotes innovative creative approaches outside the usual “pigeonholes”, enters its fourth round. Text by FONDATION SUISA

Fondation Suisa: “Get Going!” goes into the fourth round

Last year’s recipients of “Get Going!” (Clockwise from the top left) Isandro Ojeda-García, OY, Réka Csiszér, Pirmin Huber. (Photos: Caio Licínio; Sash Seurat Samson; Romina Kalsi; Gian Marco Castelberg)

When invitations to tender for “Get Going!” were launched for the first time, in 2018, it was “a shot in the dark”, says Urs Schnell, Director of the FONDATION SUISA. Back then, the idea was to look ahead. “Instead of patting an artist on the back after the fact by awarding them a prize, we now invest the money available to us into the future...read more

SUISA continues to be a reliable partner, even in difficult times

Dear members, we have been stuck with the corona crisis for 15 months and have been trying, as best as we can, to be a reliable partner for you when it comes to managing your copyright, despite of corona. It is now the second time round that we must hold our General Meeting by circular procedure. By Andreas Wegelin, CEO

SUISA continues to be a reliable partner, even in difficult times

SUISA continues to be a guiding light and a reliable partner in these dark times. (Photo: Tabea Hüberli)

Executive Committee, Board of Directors and staff regret very much that there won’t be a physical General Meeting in 2021 again. The General Meeting is the highlight of the yearly cycle of your company. Only a direct encounter with you shows us whether we are on the right track and whether our services cover your needs, or what we might actually have to improve yet.

We also would have liked to discuss in more detail and in person how the financial situation of your Cooperative Society has been developing in these difficult times, now that concerts have no longer taken place and no licensing fees have been collected for them anymore.

The 2020 annual results have been reasonably acceptable (-12%). For the current year’s results, we hope that there will be a relaxation of the event bans and an opening of restaurants so that the losses remain within 10% compared to 2020.

Impact of the event bans only visible after a delay

You are probably also going to feel this decline of SUISA’s collections in the settlements. Lost licence fees for cancelled live events will only result in lower amounts in the settlements which we pay out in the course of 2021 from the 2020 collections. With the 2021 settlements it thus becomes evident with a delay how the corona measures decreed by the authorities affect the pay-out of copyright remuneration.

The same applies for measures which has led to another shutdown in the context of the second wave of the pandemic from 21 December 2020. This will impact on settlements way into the year 2022.

Corona emergency fund for SUISA members

The 2020 General Meeting had decided that an emergency fund should be created for members that have a lower SUISA income due to the corona crisis. This fund continues to exist. SUISA offers its members further possibilities to bridge financial shortages: It is also possible to get advances for future settlements. Finally, there is the option that creators who get into financial hardship situations can get a support payment from the Pension Fund for Authors and Publishers.

Expansion of online services

SUISA is therefore also your point of contact throughout the crisis. We try to be there for you, subject to keeping to a strict expenses discipline when it comes to staff costs.

This is possible, among other things, because of an increased digitisation of the business transactions between you and SUISA. Since mid-May 2021, our “business intelligence” tool, the Royalty Report, has been activated for all rightsholders. It is therefore high time that you get an online access to your SUISA account and that you benefit from the digital services as soon as possible. That way, we can continue to increase transparency and expand our services for our members despite the pandemic.

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Dear members, we have been stuck with the corona crisis for 15 months and have been trying, as best as we can, to be a reliable partner for you when it comes to managing your copyright, despite of corona. It is now the second time round that we must hold our General Meeting by circular procedure. By Andreas Wegelin, CEO

SUISA continues to be a reliable partner, even in difficult times

SUISA continues to be a guiding light and a reliable partner in these dark times. (Photo: Tabea Hüberli)

Executive Committee, Board of Directors and staff regret very much that there won’t be a physical General Meeting in 2021 again. The General Meeting is the highlight of the yearly cycle of your company. Only a direct encounter with you shows us whether we are on the right track and whether our services cover your...read more

The Royalty Report is online

News about “My account”: Thanks to user-friendly graphics, the Royalty Report provides a quick overview of how the copyright royalties developed over the last five years and allows individual analyses per mouse click. Text by Claudia Kempf

The Royalty Report is online

The user interface of the SUISA Royalty Report. The data analysis tool is available to all members via the portal under “My account”. (Photo: SUISA)

The SUISA member portal is very popular and is used a lot. More than two thirds of all members have access to “My account” and use the advantages of the portal. Since May 2021, a significant function has been added to the portal: the Royalty Report. With this newly introduced analysis tool, you can create statistical evaluations of your own SUISA income and turn them into graphics.

After all, there is a lot of information in the SUISA settlements. You can access the settlements in “My account” as navigable PDFs. An accumulated evaluation of this data required manual or, in the case of publishers receiving electronic settlements, technical efforts.

This additional effort is now a thing of the past: With the Royalty Report, all members can, simply by clicking on the right button, get answers to questions such as: Which of my works is doing really well in a specific country? Which of my works generated the highest turnover last year? In which areas was a specific work most used: Radio, online or in discotheques?

The Royalty Report is interactive

The basic setting provides an overview of all work usages of the last five years and the current financial year. It shows at first glance: How many works did it take to reach the turnover I have generated? When were the works used, and where? What are the top works and what is the turnover they generated in that time? Did I earn more as a lyricist or a composer, as an original or sub-publisher? Are my works used more on Spotify or Apple Music?

The Royalty Report is interactive. With just one click on a work or a country, for example, the entire appearance of the display is adjusted to the selected work or country. The link sign (chain symbol) in the work list leads you directly to the works database and provides details how the relevant work has been registered at SUISA.

Thanks to various filter options, the income can be shown by different criteria such as settlement date, usage period, country, distribution category, work or online music providers. In order to gain a deeper insight, the selection criteria can be combined in any way. The program also allows for an export of the filtered data to Excel. The settlements and usage periods can be specified further with a click on the arrows in front of the respective selection criteria so that an evaluation is also possible for an individual settlement.

If you have questions on how to use the Royalty Report, the following functions are available:

  • Info buttons: They appear if you hover over a field with your mouse at the top right in the user interface. They contain information about the data which are shown in this area.
  • A user manual summarises the most important functions and contains tips and tricks on the use of the Royalty Report and explanations on the various displays and distribution categories.
  • A video shows the most important user tips:

The Royalty Report is available in English. The manual contains translations of all terms and info buttons which are used in the report.

The Royalty Report is based on the data analysis tool by Microsoft Office. The software developer recommends to use the application on a computer with a browser of the latest generation. Mobile end devices such as smartphones and tablets are, however, not suitable for processing large data volumes.

The member portal will be expanded in the medium term to become a central point of contact for our members so that core tasks of SUISA can be offered more quickly and cost-efficiently. The Royalty Report is an important step into the digital future. A next step is the renewal of the login process so that members can manage their online accounts completely independently.

The access to “My account” and the Royalty Report is open to all SUISA members. Order your login for a personal online user account now: www.suisa.ch/my-account

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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.

News about “My account”: Thanks to user-friendly graphics, the Royalty Report provides a quick overview of how the copyright royalties developed over the last five years and allows individual analyses per mouse click. Text by Claudia Kempf

The Royalty Report is online

The user interface of the SUISA Royalty Report. The data analysis tool is available to all members via the portal under “My account”. (Photo: SUISA)

The SUISA member portal is very popular and is used a lot. More than two thirds of all members have access to “My account” and use the advantages of the portal. Since May 2021, a significant function has been added to the portal: the Royalty Report. With this newly introduced analysis tool, you can create statistical evaluations of your own SUISA income and turn them into graphics.

After all, there is a...read more

Livestream licensing by SUISA

Driven by the pandemic, livestreaming of the most varied forms of events has grown in significance. Thanks to this technology, it is possible to share an event with a virtual audience despite the applicable bans and restrictions. This article outlines SUISA’s licensing practice and terms and conditions for livestreams. Text by Martin Korrodi

Livestream licensing by SUISA

A concert in your living room: organisers who air an event with music in real time over the internet must register and license the livestream with SUISA. (Photo: Scharfsinn / Shutterstock.com)

During the pandemic, dance and fitness courses, religious services, general meetings, and ever more concerts were recorded on the internet and aired as livestreams in replacement of disallowed live events. In October 2020, a virtual concert of the South Korean boy-group BTS attracted over 900,000 fans worldwide and brought in revenues of USD 44m.

These online events regularly fuel debate in the media, as well as between music creators and, naturally, the organisers of livestreaming events. More often than not, discussions revolve around the licensing terms and conditions for the necessary livestreaming rights.

What is a livestream?

A livestream is an event that is aired individually and in real time over the internet. The audience can log in at the start of the event and follow the event live – for free or for a fee. Livestreams should be distinguished from on-demand offers where spectators can choose to view the content at the time of their choice. Moreover, a livestream is not a broadcast, where contents are also transmitted in real time, but as programmes in a succession of broadcasts and not as individual events. A livestreaming licence is required for any individual event that is simultaneously recorded and streamed over the internet where the audience cannot freely choose when to view it.

Livestream licensing conditions are based on performance tariffs

Since streamed events are generally events that could just as well be staged live in the presence of an audience or performed by way of replacement for such events, the licensing terms are based on the terms and conditions of the relevant performance tariffs. Accordingly, the same percentage rate will apply to a streamed concert as that applied to a concert performed with a physical audience under Common Tariff K (CT K). Proceeding by analogy with the performance tariffs ensures that organisers of virtual and physical concerts are treated on an equal footing since their events tend to be reciprocal substitutes.

Licensing conditions distinguish between different categories: concerts, DJ sets, shows and ballet performances, and theatrical plays. The relevant rate is applied to revenues or costs as provided in the performance tariffs (CT K and CT Hb). Also in accordance with the latter, rates are adjusted proportionately with the duration of the protected music used (pro rata temporis rule). In addition to these categories, other classes of events, such as sports events, evening entertainment, seminars, religious services, events in homes and hospitals, etc. are grouped under “other events” – in this case, a flat rate of 2% of gross revenues or costs is applied.

If revenues are less than the gross cost, or if there are no revenues, the above rates are applied to total costs. As in the case of the performance tariffs, music-related gross costs are deducted. These costs consist of the following: musicians’ fees and expenses, rental of sound and recording equipment (microphones, mixing console, camera, etc.), instrument rental, and rent for the location.

Events with an audience that are additionally streamed

Live events are often staged with a small physical audience and simultaneously aired over the internet to extend their reach. In such cases, the organiser will need a “normal” licence for the performance rights and an additional licence for the livestream. As a rule, this means that, in addition to the fees charged under the performance tariff, the minimum fee CHF 40 will be charged for the livestream, since the revenues or costs of the event are already taken into account in the performance licensing fee. However, if the livestream generates separate revenues, the licence fees for the livestream will be charged on that basis.

Viewing streams after the live event

Many livestream organisers leave recordings of the stream on the internet for a certain period time after the live event; these recordings can be subsequently called up and viewed by people who missed the livestream at the official time. Provided the livestream was properly declared and licensed, SUISA allows it to be stored for subsequent viewing for a flat fee of CHF 100 in the case of concerts and DJ sets – for all other types of events the flat fee is CHF 50.

What rights are covered by the licence?

For organisers established in Switzerland or Liechtenstein whose streams are primarily intended for a domestic (Switzerland and Liechtenstein) audience, SUISA can licence the rights for the world repertoire. In the case of international organisers whose streams are intended for audiences including Switzerland and Liechtenstein, SUISA can licence the world repertoire for uses in our territory; in this case, the licence fees will be calculated only on the basis of the sales realised in Switzerland and Liechtenstein.

In the livestream area, SUISA only manages authors’ musical copyrights. For all other rights, e.g. neighbouring rights or synchronisation rights, users should contact the relevant rightholders.

Livestreams with music must be registered with SUISA

Please refer to our website for the licensing terms and conditions, application form, and further information about livestreams:
www.suisa.ch/en/customers/online/video/live-streams.html

To complete your application, the following information is required:

  • customer’s contact particulars
  • category of the livestream
  • livestream particulars title, duration, date, website URL, number of views
  • total revenues
  • (gross) costs
  • Will the event be recorded and stored for subsequent viewing? (yes/no)
  • list of musical works contained in the livestream

A licence is also required for livestreams produced via an external platform and embedded on your own website (e.g. Facebook Live, Instagram Live, Youtube Live or Twitch).

The rules governing current temporary exceptions in the livestream area proceeding from federal measures to combat the corona pandemic are also published on our website:
www.suisa.ch/en/suisa/measures-corona-pandemic/information-for-customers.html

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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.

Driven by the pandemic, livestreaming of the most varied forms of events has grown in significance. Thanks to this technology, it is possible to share an event with a virtual audience despite the applicable bans and restrictions. This article outlines SUISA’s licensing practice and terms and conditions for livestreams. Text by Martin Korrodi

Livestream licensing by SUISA

A concert in your living room: organisers who air an event with music in real time over the internet must register and license the livestream with SUISA. (Photo: Scharfsinn / Shutterstock.com)

During the pandemic, dance and fitness courses, religious services, general meetings, and ever more concerts were recorded on the internet and aired as livestreams in replacement of disallowed live events. In October 2020, a virtual concert of the South Korean boy-group BTS attracted over 900,000 fans worldwide and brought...read more