SUISA Songwriting Camp 2019 now open for applications by SUISA members | plus video

The third SUISA Songwriting Camp shall take place between 24 and 26 June 2019 in the Powerplay Studios in Maur near Zurich. SUISA members may exclusively apply for a participation. The event, jointly organised between SUISA and Pele Loriano Productions, has already spawned several internationally successful pop songs. “She Got Me”, sung and co-written by Luca Hänni, was the second song in a row selected from the SUISA Songwriting Camp to represent Switzerland at the ESC. Text and video by Manu Leuenberger

With the SUISA Songwriting Camp, SUISA offers some of its members the opportunity to team up and compose pop songs with internationally renowned producers and songwriters. Swiss Duo Aliose participated in the most recent SUISA Songwriting Camp. The two SUISA members explain in the video how they perceived their participation.

Those who wish to participate in the Songwriting Camp need to have well-founded musical knowledge, be able to produce high-level creative output when pressed for time and be open for criticism and an exchange with their co-writers.

The challenging task is: To write a pop song in a team which consists of three to five persons within a day, according to certain specifications – you start with a blank sheet of paper in the morning and don’t finish until you have completed a demo track by the evening.

Pop songs with hit potential

The musical style of the songs can comprise all facets of temporary pop music, which could also be successful in the charts, on streaming platforms or on radio/TV. The songs are intended to be offered to publishers and artists on the one hand, and also be suitable for the Eurovision Song Contest on the other hand.

36 music creators from Switzerland and other countries had taken part in the SUISA Songwriting Camp 2018. Of the 19 songs which were written during last year’s instalment of the event, two compositions have meanwhile reached international fame: The works “She Got Me” and “Sister” will feature in the final round of the Eurovision Song Contest 2019 in Tel Aviv for Switzerland and Germany, respectively.

Applications for the SUISA Songwriting Camp 2019

The third SUISA Songwriting Camp shall take place between 24 and 26 June 2019 in the Powerplay Studios in Maur near Zurich. The event is jointly organised by SUISA and Pele Loriano Productions. Pele Loriano Productions is responsible for the artistic direction of the Songwriting Camp on behalf of SUISA.

SUISA members can now apply to take part in the SUISA Songwriter Camp 2019. Are you a producer, songwriter (topliner), or a lyricist and do you think you can fulfil the requirements regarding musical skills and abilities? In that case, please send us your application which should contain the following:

  • a short biography;
  • meaningful reference songs (mp3 files or internet links);
  • contact details.

Please e-mail the applications to the following address: songwritingcamp (at) suisa (dot) ch
Closing date for applications: Monday, 22 April 2019

Important: Participants’ spaces are only allocated to SUISA members by way of this application process. Those who apply should be able to guarantee that they are available to participate on one or all of the event days (24 to 26 June 2019).

Dates and selection of the participants

The selection of all artists who are invited to the camp shall be done via the artistic director. A suitable mix of participants is paramount for the creative success of the songwriting sessions.

The artistic programme director will directly communicate any acceptance messages and invitations as well as further details on the participation at the SUISA Songwriting Camp 2019 by 31 May 2019.

Rejection letters will not be sent. If you have not received an acceptance message by 31 May 2019 you were not taken into consideration for the Songwriting Camp 2019.

The number of applications is expected to exceed the number of available participants’ spaces by far. Please note that, at no time whatsoever, any claims arise to a participation in the event by sending in an application. There will also not be any correspondence in relation to the actual allocation of spaces. It is not possible to comment on any further Songwriting Camps supported by SUISA at this stage.

Related articles
Switzerland will be represented at the Eurovision Song Contest by Luca Hänni and a song from the SUISA Songwriting CampSwitzerland will be represented at the Eurovision Song Contest by Luca Hänni and a song from the SUISA Songwriting Camp | plus video For the second time in succession, the Swiss entry for the Eurovision Song Contest has come from the SUISA Songwriting Camp. The song “She Got Me” was written last June at the Powerplay Studios by SUISA member Luca Hänni with Canadian songwriters Laurell Barker and Frazer Mac as well as Swedish producer Jon Hällgren. Read more
Eurovision Song Contest: SUISA Songwriting Camp song in the German qualifierEurovision Song Contest: SUISA Songwriting Camp song in the German qualifier | plus video Success for the SUISA Songwriting Camp: The song “Sister” created during last year’s camp is in the German ESC qualifier. The piece was composed and produced by an international songwriting team consisting of Marine Kaltenbacher, Laurell Barker, Tom Oehler and Thomas Stengaard. Read more
Dual memberships: SUISA, and what else?Dual memberships: SUISA, and what else? SUISA manages the rights for its members globally. You should carefully review and consider the relevant effort and income if you wanted to become a member of several authors’ societies. If you live outside of Switzerland or the Principality of Liechtenstein, you can also become a SUISA member. Last but not least, it is also possible to be a member of another collective management organisation in addition to your SUISA membership. The following FAQs are intended to summarise what you need to consider when contemplating a so-called dual membership. Read more
Collapse article
  1. Busseniers says:

    J ai eu la chance d avoir un feedback de Jeroen Swinnen, le belge, ce qui m a permis de bien evoluer
    C est egalement , a Jeroen Swinnen, que j ai achete le digidesign pro tools ,
    Merveilleux engin
    Bonne journee a Vous
    Christian Busseniers

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.

The third SUISA Songwriting Camp shall take place between 24 and 26 June 2019 in the Powerplay Studios in Maur near Zurich. SUISA members may exclusively apply for a participation. The event, jointly organised between SUISA and Pele Loriano Productions, has already spawned several internationally successful pop songs. “She Got Me”, sung and co-written by Luca Hänni, was the second song in a row selected from the SUISA Songwriting Camp to represent Switzerland at the ESC. Text and video by Manu Leuenberger

With the SUISA Songwriting Camp, SUISA offers some of its members the opportunity to team up and compose pop songs with internationally renowned producers and songwriters. Swiss Duo Aliose participated in the most recent SUISA Songwriting Camp. The two SUISA members explain in the video how they perceived their participation.

Those...read more

Switzerland will be represented at the Eurovision Song Contest by Luca Hänni and a song from the SUISA Songwriting Camp | plus video

For the second time in succession, the Swiss entry for the Eurovision Song Contest has come from the SUISA Songwriting Camp. The song “She Got Me” was written last June at the Powerplay Studios by SUISA member Luca Hänni with Canadian songwriters Laurell Barker and Frazer Mac as well as Swedish producer Jon Hällgren. Text and video by Sibylle Roth

The song “She Got Me”, which had the working title of “Dirty Dancing”, was written during the SUISA Songwriting Camp in June 2018 by a four-person team. With Germany taking another song – “Sister” – from the SUISA Songwriting Camp 2018 to the Eurovision Song Contest in Tel Aviv, this represents another major success for the songwriting camp, staged by SUISA in collaboration with Pele Loriano Productions.

“It’s fantastic”, says Luca Hänni, a SUISA member since 2015. The Bern native was first exposed to the broader public in a German casting show in 2012. Since then, he has issued four albums and a number of singles, and recently appeared on stage with Helene Fischer. Eurovision is the next big adventure in his career. Hänni says he’s excited, “and I just want to give the best show possible.”

Last year, Luca Hänni took part in the SUISA Songwriting Camp for the first time, with Canadian songwriters Laurell Barker and Frazer Mac returning for a second time. For Laurell Barker, the Swiss camp is a real success story; she contributed to Switzerland’s Eurovision entry last year as well. She wrote the song “Stones” with ZiBBZ, which is made up of SUISA members Corinne and Stefan Gfeller. Jon Hällgren, the Swedish producer, completes the songwriting quartet. After the camp, he produced “She Got Me” for Eurovision 2019 in collaboration with his son Lukas Hällgren.

This year, Swiss broadcaster SRF left the decision on the Eurovision entry to an international jury of 20 experts and a 100-strong viewer panel in a multiple-stage process. Over 420 songs were entered.

On 16 May 2019 (SRF zwei at 9:00 pm), Switzerland will be battling for a place in the Eurovision Song Contest final in Tel Aviv. The Eurovision final will take place on 18 May 2019 (SRF 1 at 8:00 pm).

The SUISA Songwriting Camp took place in June 2018 for the second time. Overall, 36 musicians from eight countries took part in the three-day event in Powerplay Studios, Maur. This resulted in 19 pop songs in a range of styles. The camp was staged by Pele Loriano Productions and SUISA.

www.lucamusic.ch

Related articles
Eurovision Song Contest: SUISA Songwriting Camp song in the German qualifier | plus videoEurovision Song Contest: SUISA Songwriting Camp song in the German qualifier | plus video Success for the SUISA Songwriting Camp: The song “Sister” created during last year’s camp is in the German ESC qualifier. The piece was composed and produced by an international songwriting team consisting of Marine Kaltenbacher, Laurell Barker, Tom Oehler and Thomas Stengaard. Read more
Eurovision Song Contest - Zibbz: “We wanted to write a song that suits us” | plus video“We wanted to write a song that suits us” | plus video Siblings Co and Stee Gfeller, better known as ZiBBZ, are battling it out for entry to the Eurovision Song Contest with their song “Stones”. They wrote the song together with Canadian songwriter Laurell Barker at the songwriting camp staged by Pele Loriano Productions and SUISA in August 2017. In the video, the two siblings tell us more about how the song came about and why this kind of songwriting camp is so important. Read more
Eurovision Song Contest: “You always want to write the best song you can” | plus video“You always want to write the best song you can” | plus video Songwriter Kate Northrop is primarily a lyricist, a creative role that doesn’t often land her in the spotlight. Together with three other authors, the SUISA member co-wrote Naeman’s entry to the Eurovision Song Contest, “Kiss Me”. In a video interview, Kate Northrop explains how she came up with the song lyrics and how she was inspired by the songwriting camp organised by SUISA and Pele Loriano Productions. Read more
Collapse article

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.

For the second time in succession, the Swiss entry for the Eurovision Song Contest has come from the SUISA Songwriting Camp. The song “She Got Me” was written last June at the Powerplay Studios by SUISA member Luca Hänni with Canadian songwriters Laurell Barker and Frazer Mac as well as Swedish producer Jon Hällgren. Text and video by Sibylle Roth

The song “She Got Me”, which had the working title of “Dirty Dancing”, was written during the SUISA Songwriting Camp in June 2018 by a four-person team. With Germany taking another song – “Sister” – from the SUISA Songwriting Camp 2018 to the Eurovision Song Contest in Tel Aviv, this represents another major success for the songwriting camp, staged by SUISA in collaboration with Pele Loriano Productions.

“It’s fantastic”, says Luca Hänni, a...read more

M4music: Hit the World – this is how international female hit composers did it

Have you ever wondered how hits are created? How a song comes into existence which lets the feet across generations tap to the rhythm? SUISA has been researching these questions and is organising a panel on this topic at the M4music 2019. Text by Erika Weibel

M4music: Hit the World – this is how international female hit composers did it

At the M4music Festival 2019, KT Gorique and Valeska Steiner (top, from left to right) exchange their views on songwriting with Laurell Barker and Shelly Peiken (below, from left to right). (Photos: Jeremie Carron, Christoph Köstlin, Phantasm, Aerin Moreno)

There are female and male songwriters who create their songs entirely by themselves, others, however, write as a team. Sometimes they write for themselves, sometimes they write for performers fromr completely different music genres. How do they go about it? Do female and male composers have a feeling whether something becomes a hit? Can you live off songwriting?

SUISA panel Hit the World – four female songwriters tell their stories

On Friday, 15 March 2019, SUISA is going to organise a round of female experts which is going to discuss exactly those issues at the M4music Festival. For this purpose, SUISA invited four female songwriters who have already celebrated international and national successes in the pop and urban sector.

One participant is writing hits, among others, for Miley Cyrus, Céline Dion, Selena Gomez, Meredith Brooks or Christina Aguilera. The second has contributed to several hundred songs and travels across continents from one songwriting session to the next. The third is a successful Swiss singer songwriter who has a large and loyal fan community. The fourth in the round is currently writing Swiss hip hop history: In 2012, the then 21-year-old won the first freestyle rap world championship in New York. She writes lyrics as well as the beats herself and has been touring successfully in Europe and overseas for several years.

The four songwriters Valeska Steiner, KT Gorique, Laurell Barker and Shelly Peiken are going to answer questions regarding the writing process of successful songs and exchange their experience what their approach to composing their songs is. What matters in their opinion. How they master the challenges that automatically come with the territory.

SUISA-Panel at the M4music: Hit the World – four female songwriters tell their stories
Friday, 15 March 2019, 15:00 – 16:15, Matchbox

Speakers:
Valeska Steiner, musician, BOY, Zurich
KT Gorique, musician, Sion
Laurell Barker, musician, Vancouver/Zurich
Shelly Peiken, musician, Los Angeles

Presentation:
Nina Havel, Zurich

www.m4music.ch

Related articles
Creative teamwork at SUISA’s 2018 Songwriting Camp | plus videoCreative teamwork at SUISA’s 2018 Songwriting Camp | plus video SUISA organised the second edition of its Songwriting Camp in cooperation with Pele Loriano Productions. Like the premiere last year the camp again took place at the Powerplay Studios in Maur. A total of 36 musicians from eight different countries attended the three-day event in June 2018, creating 19 pop songs in a wide range of musical styles. Read more
Debrah Scarlett: “As a songwriter, you’re some sort of a lone wolf”“As a songwriter, you’re some sort of a lone wolf” Debrah Scarlett already enjoyed international fame before releasing her début EP “DYS(U)TOPIA” in mid-March. Prior to that, the Norwegian-Swiss musician joined SUISA. Read more
Festival Archip-elles – Women PowerFestival Archip-elles – Women Power The Geneva Festival for contemporary music creation has dedicated itself to music originating from the pen of women for its 2019 event. Archip-elles presents works by female composers of various generations, origin and aesthetics. On Friday, 05 April 2019, SUISA members are invited to a visit at the Festival. Read more
Collapse article

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.

Have you ever wondered how hits are created? How a song comes into existence which lets the feet across generations tap to the rhythm? SUISA has been researching these questions and is organising a panel on this topic at the M4music 2019. Text by Erika Weibel

M4music: Hit the World – this is how international female hit composers did it

At the M4music Festival 2019, KT Gorique and Valeska Steiner (top, from left to right) exchange their views on songwriting with Laurell Barker and Shelly Peiken (below, from left to right). (Photos: Jeremie Carron, Christoph Köstlin, Phantasm, Aerin Moreno)

There are female and male songwriters who create their songs entirely by themselves, others, however, write as a team. Sometimes they write for themselves, sometimes they write for performers fromr completely different music genres. How do they go about it? Do female and male composers have a feeling...read more

Festival Archip-elles – Women Power

The Geneva Festival for contemporary music creation has dedicated itself to music originating from the pen of women for its 2019 event. Archip-elles presents works by female composers of various generations, origin and aesthetics. On Friday, 05 April 2019, SUISA members are invited to a visit at the Festival. Text by Erika Weibel

Festival Archip-elles – Women Power

At the Festival Archip-elles 2019, the focus is on music by female contemporary composers. (Photo: Festival Archipel)

“In an article by the ‘Guardian’, ‘Female composers largely ignored by concert line-ups”, published on 13 June 2018, 1,445 classical concerts were examined which were planned around the world for the 2018-19 season, and the conclusion was drawn that only 76 events featured a work by a woman”, writes Festival director Marc Texier in the Editorial of this year’s festival guide. The Geneva Festival for Contemporary Music Creation creates a counterweight against this gender-based imbalance in the concert world and ensures that the music by female composers is heard at the 2019 event.

The concert programme of this year’s Festival Archip-elles is complemented by installations, round tables and workshops. On Friday morning, 05 April 2019, the Festival organises a workshop, in collaboration with SUISA, on the topic of copyright for students of the “Haute école de musique Genève”, the “Conservatoire populaire de musique” and the participants of the two academies “Académie Archipel” and Composer’s Next Generation (Ensemble Vortex).

Invitation for SUISA members

The Festival Archipel and SUISA cordially invite SUISA members to spend the evening of 05 April 2019 at the Festival. SUISA members who register their participation can attend free of charge. We are looking forward to your registrations until 31 March 2019 at the latest. Please send an e-mail to: kommunikation (at) suisa (dot) ch

A detailed evening programme, to which SUISA members are invited, is listed below. One programme item of particular interest on said evening is the round table discussion on the topic “to be a female composer in Switzerland”.

Round Table Discussion: To be a female composer in Switzerland

What’s it like for female composers to hold their ground in a world dominated by men? Why is it harder for a female composer to get her works to be performed? Why don’t more women choose a career as a composer?

Marc Texier, Festival director, follows up on these questions in a conversation with the two Swiss female composers Katharina Rosenberger and Annette Schmucki as well as with Dr. Irene Minder-Jeanneret, musicologist with a research focus on gender and music.

Once the discussion is over, the stage is open for the musical part of the evening: In a concert with the ensemble Vortex, the work by Swiss composer Barblina Meierhans will have its premiere, among others. Afterwards, Ella Soto will perform on a DJ set.

Detailed programme, where members are invited on Friday, 05 April 2019, at the Festival Archip-elles in Geneva:

5.00pm, Maison communale de Plainpalais
Visit to the installations of Marianthi Papalexandri and Pe Lang

6.00pm, Maison communale de Plainpalais
Drinks and discussion panel: To be a female composer in Switzerland
Dr. Irène Minder-Jeanneret, musicologist
Katharina Rosenberger, composer
Annette Schmucki, composer
Presentation: Marc Texier

8.00pm, Théâtre Pitoëff
Concert
The ensemble Vortex is going to play works by Barblina Meierhans, Olga Kokcharova, Eva Reiter, Ann Cleare, Clara Iannotta and Jessie Marino.

10.00pm – 1.00 am, Maison communale de Plainpalais
Ella Soto – DJ Set, Carte blanche à La VostokE
La Vostoke is the first radio sender in Switzerland which is a 100% female.

www.archipel.org, festival website

Related articles
Festival Archipel: Career and calling | plus videoCareer and calling | plus video How do I found and run an ensemble for contemporary music? Where do I get subsidies for my music projects from? What is the purpose of SUISA and Swissperform? How do I distribute my works via the internet? Impressions gathered during the first ever “Journée d’orientation professionelle” at the Festival Archipel 2017. Read more
“SUISA Day” at the Murten Classics Festival proves a resounding success“SUISA Day” at the Murten Classics Festival proves a resounding success The programme of the Murten Classics Festival included a full day of contemporary music on 25 August 2018 as part of the concert series “Offen für Neues”. The concert day, supported by SUISA and recorded by Radio SRF 2 Kultur, met with a positive response all round. Read more
Good to know: Arrangement of works in the public domainArrangement of works in the public domain Before you start arranging musical works that are not protected by copyright, it is worth being aware of the legal pitfalls in order to avoid costly stumbles. Seeking inspiration from others, arranging existing works for different instrumentation, incorporating all or part of existing compositions into new works … these are age-old practices. Read more
Collapse article

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.

The Geneva Festival for contemporary music creation has dedicated itself to music originating from the pen of women for its 2019 event. Archip-elles presents works by female composers of various generations, origin and aesthetics. On Friday, 05 April 2019, SUISA members are invited to a visit at the Festival. Text by Erika Weibel

Festival Archip-elles – Women Power

At the Festival Archip-elles 2019, the focus is on music by female contemporary composers. (Photo: Festival Archipel)

“In an article by the ‘Guardian’, ‘Female composers largely ignored by concert line-ups”, published on 13 June 2018, 1,445 classical concerts were examined which were planned around the world for the 2018-19 season, and the conclusion was drawn that only 76 events featured a work by a woman”, writes Festival director Marc Texier in the Editorial of this year’s festival guide. The Geneva...read more

Eurovision Song Contest: SUISA Songwriting Camp song in the German qualifier | plus video

Success for the SUISA Songwriting Camp: The song “Sister” created during last year’s camp is in today’s German ESC qualifier. The piece was composed and produced by an international songwriting team consisting of Marine Kaltenbacher, Laurell Barker, Tom Oehler and Thomas Stengaard. The German qualifier “Our song for Israel” (“Unser Lied für Israel”) will hit the stage today, Friday, 22 February 2019. Text by Giorgio Tebaldi; Video by Manu Leuenberger

Tonight’s decision night: Which song will represent Germany in the Eurovision Song Contest (ESC) in May 2019 in Tel Aviv? Among the seven final songs is “Sister” which was created during the SUISA Songwriting Camp in June 2018. The song was written by SUISA members Marine Kaltenbacher and Tom Oehler together with Canadian songwriter Laurell Barker. In the follow-up, Danish producer Thomas Steengard came on board for some finetuning.

“Sister” is a song from the SUISA Songwriting Camp which manages to cross borders beyond those of Switzerland. “Thanks to the ESC and the German qualifier, the positive message which we wanted to send with ‘Sister’, enjoys a much bigger distribution” says singer songwriter Marine Kaltenbacher who performs under the name Submaryne and is from Lausanne. Berne songwriter and producer Tom Oehler also considers the participation of the song in the German qualifier as a huge step: “A song which participates in the ESC may well represent a huge career leap for a songwriter or producer.”

Laurell Barker: Several successes at the ESC

While Tom Oehler and Marine Kaltenbacher participated at a SUISA Songwriting Camp for the first time, Laurell Barker has already gathered ESC experience and took part at the camp, co-organised by SUISA, for a second time.  Not without success: At the first SUISA Songwriting Camp, she was a co-composer of “Stones” by ZiBBZ; the song represented Switzerland at the ESC 2018 in Lisbon. Laurell Barker is already now considered to be a participant at the finale of this year’s ESC: She is one of the composers of the British contribution “Bigger Than Us” sung by Michael Rice. The song qualified directly for the ESC finale, since the UK, together with Germany, France, Italy and Spain, belong to the “Big Five” countries. “I’d be extremely blessed and lucky if I could represent more than just one country in Tel Aviv – that would be crazy”, Laurell Barker says in the video.

“Unser Lied für Israel” today at 8.15pm on ARD

The song is performed by Sisters, a duo consisting of the two singers Carlotta Truman and Laurita Spinelli. The finale of “Our song for Israel” (“Unser Lied für Israel”) is broadcast tonight from 8.15pm onwards live on ARD. The ESC finale in Tel Aviv will take place on 18 May 2019. Germany is also directly qualifying for the finale as one of the “Big Five” countries. Other countries – among them Switzerland – fight for an entry into the finale on 14 and 16 May.

The SUISA Songwriting Camp took place for the second time in June 2018. A total of 36 musicians from 8 countries participated in the 3-day-long event in the Powerplay Studios in Maur. 19 pop songs were created, with varied styles and expressions. The Camp was organised by Pele Loriano Productions and SUISA.

Related articles
Creative teamwork at SUISA’s 2018 Songwriting Camp | plus video – SUISA organised the second edition of its Songwriting Camp in cooperation with Pele Loriano Productions. Like the premiere last year the camp again took place at the Powerplay Studios in Maur. A total of 36 musicians from eight different countries attended the three-day event in June 2018, creating 19 pop songs in a wide range of musical styles. Read more
“We wanted to write a song that suits us” | plus video – Siblings Co and Stee Gfeller, better known as ZiBBZ, are battling it out for entry to the Eurovision Song Contest with their song “Stones”. They wrote the song together with Canadian songwriter Laurell Barker at the songwriting camp staged by Pele Loriano Productions and SUISA in August 2017. In the video, the two siblings tell us more about how the song came about and why this kind of songwriting camp is so important. Read more
 “Adiós”: Caribbean-style summer hit with a cembalo | plus video – At the “Swiss Music Awards” 2019, together with four co-composers Loco Escrito can hope for the sought-after concrete blocks in the category “Best Hit” for the song “Adiós”. The musician and music university lecturer Hans Feigenwinter talks about where the strengths of the song lie in a video with his song analysis. Read more
Collapse article

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.

Success for the SUISA Songwriting Camp: The song “Sister” created during last year’s camp is in today’s German ESC qualifier. The piece was composed and produced by an international songwriting team consisting of Marine Kaltenbacher, Laurell Barker, Tom Oehler and Thomas Stengaard. The German qualifier “Our song for Israel” (“Unser Lied für Israel”) will hit the stage today, Friday, 22 February 2019. Text by Giorgio Tebaldi; Video by Manu Leuenberger

Tonight’s decision night: Which song will represent Germany in the Eurovision Song Contest (ESC) in May 2019 in Tel Aviv? Among the seven final songs is “Sister” which was created during the SUISA Songwriting Camp in June 2018. The song was written by SUISA members Marine Kaltenbacher and Tom Oehler together with Canadian songwriter Laurell Barker. In the follow-up, Danish producer Thomas...read more

“Adiós”: Caribbean-style summer hit with a cembalo | plus video

At the “Swiss Music Awards” 2019, together with four co-composers Loco Escrito can hope for the sought-after concrete blocks in the category “Best Hit” for the song “Adiós”. The musician and music university lecturer Hans Feigenwinter talks about where the strengths of the song lie in a video with his song analysis. Text by Giorgio Tebaldi; Video by Sibylle Roth

Nicolas Herzig – Loco Escrito’s real name – seems to have found the success formula for summer hits. After he hit the Swiss Charts with “Sin Ti” in 2017, he outdid his success last year: The single “Adiós” stayed in the Swiss Charts for 29 weeks and climbed all the way to 4th position. The song thus counted among the three most successful Swiss tracks in 2018 and has been nominated for the award as “Best Hit” at the Swiss Music Awards.

Varied and thrilling dramaturgy

Hans Feigenwinter thinks that one interesting aspect of the song was the instrumentation of the stanzas. He is a musician himself and lectures musicology at the music universities in Basel and Lucerne. He thoroughly analyses the song in the video.

For Nicolas Herzig and co-composer and producer Henrik Amschler it was paramount that “Adiós” should remain varied and contain a thrilling dramaturgy. In an interview given in writing, Amschler stated: “Since the song does, for example, not contain a classical bridge with a change of chord after the second chorus but three parts, it was important to us that each part was special in its own way.” The various song parts have therefore also their respective and different moods, as Amschler adds: “The first section of the second part is rhythmical and animates you to dance. The first section of the third part, on the other hand, is spheric and very emotional.”

(International) songwriting team work

In addition to Amschler and Herzig, three other musicians were involved in writing the song “Adiós”. Composer Sandro Dietrich from Graubünden and Latin Rapper, singer, percussionist and music producer Lou Geniuz, aka Lou Zarra, from the same Swiss canton, laid the musical foundation which was already very much developed according to Amschler. With regards to the lyrics, Nicolas Herzig was supported by Columbian musician Jonathan Ruiz Meija. “It was therefore up to Loco and me to continue with the song, to adapt it and to complete it,” writes Amschler.

The songwriters and the producer have deliberately renounced on using too many instruments. “We had actually planned to use more instruments, for example in the chorus”, explains Henrik Amschler. “At the end of the day, however, we decided to reduce in order to provide the vocals with more space by way of various harmonies.” Nevertheless, “Adiós” surprises with interesting sounds, such as a harpsichord or cembalo-like sound – something that is rather unusual for pop music according to Hans Feigenwinter.

“Swiss Music Awards”: SUISA awards the songwriter of the “Best Hit”

“Adiós” is one of the three songs that have been nominated for the “Best Hit” at the next “Swiss Music Awards” which will be awarded at the Culture and Congress Centre Lucerne (Kultur- und Kongresszentrum Luzern KKL) on Saturday, 16 February 2019. SUISA is a “supporting partner” of the event. For the fourth time, the “Best Hit” award is also issued to composers and lyricists of the winning song on behalf of SUISA. The nominated songs are:

  • “079” by Lo & Leduc (songwriter: Lorenz Häberli, Maurice Könz, Luc Oggier)
  • «Adiós» by Loco Escrito (songwriter: Henrik Amschler, Sandro Dietrich, Nicolas Herzig, Jonathan Ruiz Mejia, Luigi Zarra)
  • «Us Mänsch» by Bligg feat. Marc Sway (songwriter: Marco Bliggensdorfer, Fred Herrmann, Marc Sway)

www.locoescrito.com
www.henrik-hsa-amschler.ch

Hans Feigenwinter comes from Basel. During his early years, he played in pop and indie rock bands. Lateron, he studied piano at the Swiss Jazz School in Berne and has since been active as a pianist and composer in various formations. In addition to solo concerts, he is currently performing in the trios Hans Feigenwinter ZINC and Feigenwinter Oester Pfammatter. He is a lecturer at the music universities in Basel and Lucerne. www.hansfeigenwinter.ch
Related articles
“079”: A tragicomic hit story | plus video“079”: A tragicomic hit story | plus video Lo & Leduc and their co-composer Maurice “Dr Mo” Könz have made history with “079”: Last year, the song stayed an entire 21 weeks at the top of the national charts – and thus broke a Swiss record. “079” is one of the three nominated songs for the “Best Hit award at the “Swiss Music Awards” 2019. Musician and lecturer for musicology, Hans Feigenwinter, analysed the hit composition. Read more
“Us Mänsch”: Last minute hit with loads of energy | plus video“Us Mänsch”: Last minute hit with loads of energy | plus video “Us Mänsch” by Bligg and Marc Sway was one of the most successful Swiss songs last year. This despite the fact that the song only made it to the Bligg album “KombiNation” last minute. Now, the song is nominated for the “Best Hit award at the “Swiss Music Awards” 2019. Musician and music university lecturer Hans Feigenwinter has analysed the composition of “Us Mänsch”. Read more
Award for songwriters at the Swiss Music Awards | plus videoAward for songwriters at the Swiss Music Awards | plus video The newcomer Nickless and the renowned producer Thomas Fessler won the first award for songwriters at the Swiss Music Awards 2016. The winning song “Waiting”, jointly composed by the two, didn’t appear out of thin air but is the result of lots of teamwork. At the occasion of the Swiss Music Awards 2017, SUISA will honour the performance of composers and lyricists with an award again. Read more
Collapse article

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.

At the “Swiss Music Awards” 2019, together with four co-composers Loco Escrito can hope for the sought-after concrete blocks in the category “Best Hit” for the song “Adiós”. The musician and music university lecturer Hans Feigenwinter talks about where the strengths of the song lie in a video with his song analysis. Text by Giorgio Tebaldi; Video by Sibylle Roth

Nicolas Herzig – Loco Escrito’s real name – seems to have found the success formula for summer hits. After he hit the Swiss Charts with “Sin Ti” in 2017, he outdid his success last year: The single “Adiós” stayed in the Swiss Charts for 29 weeks and climbed all the way to 4th position. The song thus counted among the three most successful Swiss tracks in 2018 and has been nominated for...read more

“Us Mänsch”: Last minute hit with loads of energy | plus video

“Us Mänsch” by Bligg and Marc Sway was one of the most successful Swiss songs last year. This despite the fact that the song only made it to the Bligg album “KombiNation” last minute. Now, the song is nominated for the “Best Hit award at the “Swiss Music Awards” 2019. Musician and music university lecturer Hans Feigenwinter has analysed the composition of “Us Mänsch”. Text by Giorgio Tebaldi; Video by Manu Leuenberger

Bligg and Marc Sway have already written some songs together. For the single “Us Mänsch” they took to the microphone together for the first time. Not without success: The single was awarded platinum status in 2018.

Why is the song so attractive for the audience? Hans Feigenwinter who lectures musicology at the music universities in Basel and Lucerne and is a pianist and composer himself, reckons: “There is a lot of energy, it is a very passionate rap.” In his song analysis which can be watched in the video, he recognises something solemn in the piece: “I had to think of a sermon.”

Last minute hit

Apart from Bligg and Marc Sway, Bligg’s long-term producer and co-composer, Fred Herrmann, contributed to writing “Us Mänsch”. In a written interview, Fred Herrmann described how the song was created:

““Us Mänsch” was a typical last minute hit! It was the very last song which we wrote and produced for the album “KombiNation”. Bligg said that he still had a cool idea for some lyrics with a play on words in relation to “Us Mänsch” which he was very keen to realise. Since we were already lagging behind the time schedule rather significantly, we worked simultaneously. While I worked on the composition and the production, Bligg was honing the lyrics into shape and recorded his vocals. He kept sending me new vocal tracks he had recorded which I either implemented straight away or questioned and asked for improvement. It was a real ping pong party! Somehow we had put the song together, but we found that the refrain needed to be recorded by a male singer with a raucous voice. We quickly thought of Marc Sway whom we both have known very well and for a very long time! Mister Sway came to the studio for two hours each and the refrain was ready! The beauty about composing is that every now and then, completely unpredictably, you manage to create a song where everything is just perfect.”

“Swiss Music Awards”: SUISA awards the songwriter of the “Best Hit”

“Us Mänsch” is one of the three songs that have been nominated for the “Best Hit” at the next “Swiss Music Awards” which will be awarded at the Culture and Congress Centre Lucerne (Kultur- und Kongresszentrum Luzern KKL) on Saturday, 16 February 2019. SUISA is a “supporting partner” of the event. For the fourth time, the “Best Hit” award is also issued to composers and lyricists of the winning song on behalf of SUISA. The nominated songs are:

  • “079” by Lo & Leduc (songwriter: Lorenz Häberli, Maurice Könz, Luc Oggier)
  • «Adiós» by Loco Escrito (songwriter: Henrik Amschler, Sandro Dietrich, Nicolas Herzig, Jonathan Ruiz Mejia, Luigi Zarra)
  • «Us Mänsch» by Bligg feat. Marc Sway (songwriter: Marco Bliggensdorfer, Fred Herrmann, Marc Sway)

www.bligg.ch
www.marcsway.ch

Hans Feigenwinter comes from Basel. During his early years, he played in pop and indie rock bands. Lateron, he studied piano at the Swiss Jazz School in Berne and has since been active as a pianist and composer in various formations. In addition to solo concerts, he is currently performing in the trios Hans Feigenwinter ZINC and Feigenwinter Oester Pfammatter. He is a lecturer at the music universities in Basel and Lucerne. www.hansfeigenwinter.ch
Related articles
“079”: A tragicomic hit story | plus video“079”: A tragicomic hit story | plus video Lo & Leduc and their co-composer Maurice “Dr Mo” Könz have made history with “079”: Last year, the song stayed an entire 21 weeks at the top of the national charts – and thus broke a Swiss record. “079” is one of the three nominated songs for the “Best Hit award at the “Swiss Music Awards” 2019. Musician and lecturer for musicology, Hans Feigenwinter, analysed the hit composition. Read more
Marc Sway: “You write more songs than fit on an album” | plus video“You write more songs than fit on an album” | plus video When we visited him in his studio in January 2018, the long-term SUISA member Marc Sway allowed us a peek into his creative activities and his professional life as a musician. Mid-October 2018, his single “Beat of My Heart” was released as the precursor for his next album whose creation process was one of the main subjects in the video interview. Read more
Creative teamwork at SUISA’s 2018 Songwriting Camp | plus videoCreative teamwork at SUISA’s 2018 Songwriting Camp | plus video SUISA organised the second edition of its Songwriting Camp in cooperation with Pele Loriano Productions. Like the premiere last year the camp again took place at the Powerplay Studios in Maur. A total of 36 musicians from eight different countries attended the three-day event in June 2018, creating 19 pop songs in a wide range of musical styles. Read more
Collapse article

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.

“Us Mänsch” by Bligg and Marc Sway was one of the most successful Swiss songs last year. This despite the fact that the song only made it to the Bligg album “KombiNation” last minute. Now, the song is nominated for the “Best Hit award at the “Swiss Music Awards” 2019. Musician and music university lecturer Hans Feigenwinter has analysed the composition of “Us Mänsch”. Text by Giorgio Tebaldi; Video by Manu Leuenberger

Bligg and Marc Sway have already written some songs together. For the single “Us Mänsch” they took to the microphone together for the first time. Not without success: The single was awarded platinum status in 2018.

Why is the song so attractive for the audience? Hans Feigenwinter who lectures musicology at the music universities in Basel and Lucerne and is a...read more

“079”: A tragicomic hit story | plus video

Lo & Leduc and their co-composer Maurice “Dr Mo” Könz have made history with “079”: Last year, the song stayed an entire 21 weeks at the top of the national charts – and thus broke a Swiss record. “079” is one of the three nominated songs for the “Best Hit award at the “Swiss Music Awards” 2019. Musician and lecturer for musicology, Hans Feigenwinter, analysed the hit composition. Text by Giorgio Tebaldi; Video by Sibylle Roth

How “079” found its way into the Swiss charts is already a remarkable story. In February 2018, Lo & Leduc offered the song and the respective album “Update 4.0” for streaming and downloading, free of charge, on their website – “because of joy” as they said in an interview at the time. The audience liked the song so much that it sold more and more and was streamed ever more increasingly. That way, “079” made it to number 1 of the Swiss single charts and held the top spot for 21 weeks.

The song was written by Lorenz Häberli (Lo), Luc Oggier (Leduc) and the Berne composer, DJ and performer Maurice Könz, better known as Dr. Mo. The latter wrote the melody to which Lo & Leduc added the lyrics. “The lyrics and the music were created completely independently of each other”, tells Dr. Mo in relation to the creation process of the piece in a written interview. Both elements had already nearly been finished when they were finally combined. “We had tried to combine the lyrics with another beat, respectively to write another set of lyrics for the beat”, Dr. Mo writes. “These ideas, however, were quickly dismissed. When we then combined those lyrics with that beat, we knew immediately that everything fits perfectly.”

Original, moving, somewhat absurd

Last but not least, the story that the song is about contributed to its success. “It is a tragicomic story. It is original, it is comprehensible, it is moving; it all has something absurd about it”, says pianist and composer Hans Feigenwinter who lectures musicology at the music universities in Basel and Lucerne. His analysis of the song can be seen in the video.

The fact that searching for the right words can be rather time intensive in certain cases, is shown by Dr. Mo on the basis of a specific example: “The search for a suitable personal pronoun lasted the longest. We were unsure whether the story can be understood if two different singers perform it from a first person perspective, all the while are depicting the same person. We thus also thought about telling a story about “him” so that the confusion about the personalities could be remedied. This, however, created problems with the conjugation, rhymes and emotional access. We finally decided, and rightly so, that we would have to impose the first person perspective onto the listener.

“Swiss Music Awards”: SUISA awards the songwriter of the “Best Hit”

“079” is one of the three songs that have been nominated for the “Best Hit” at the next “Swiss Music Awards” which will be awarded at the Culture and Congress Centre Lucerne (Kultur- und Kongresszentrum Luzern KKL) on Saturday, 16 February 2019. SUISA is a “supporting partner” of the event. For the fourth time, the “Best Hit” award is also issued to composers and lyricists of the winning song on behalf of SUISA. The nominated songs are:

  • “079” by Lo & Leduc (songwriter: Lorenz Häberli, Maurice Könz, Luc Oggier)
  • «Adiós» by Loco Escrito (songwriter: Henrik Amschler, Sandro Dietrich, Nicolas Herzig, Jonathan Ruiz Mejia, Luigi Zarra)
  • «Us Mänsch» by Bligg feat. Marc Sway (songwriter: Marco Bliggensdorfer, Fred Herrmann, Marc Sway)

www.lo-leduc.ch
www.drmo.ch

Hans Feigenwinter comes from Basel. During his early years, he played in pop and indie rock bands. Lateron, he studied piano at the Swiss Jazz School in Berne and has since been active as a pianist and composer in various formations. In addition to solo concerts, he is currently performing in the trios Hans Feigenwinter ZINC and Feigenwinter Oester Pfammatter. He is a lecturer at the music universities in Basel and Lucerne. www.hansfeigenwinter.ch
Related articles
Award for songwriters at the Swiss Music Awards | plus videoAward for songwriters at the Swiss Music Awards | plus video The newcomer Nickless and the renowned producer Thomas Fessler won the first award for songwriters at the Swiss Music Awards 2016. The winning song “Waiting”, jointly composed by the two, didn’t appear out of thin air but is the result of lots of teamwork. At the occasion of the Swiss Music Awards 2017, SUISA will honour the performance of composers and lyricists with an award again. Read more
Marc Sway: “You write more songs than fit on an album” | plus video“You write more songs than fit on an album” | plus video When we visited him in his studio in January 2018, the long-term SUISA member Marc Sway allowed us a peek into his creative activities and his professional life as a musician. Mid-October 2018, his single “Beat of My Heart” was released as the precursor for his next album whose creation process was one of the main subjects in the video interview. Read more
Creative teamwork at SUISA’s 2018 Songwriting Camp | plus videoCreative teamwork at SUISA’s 2018 Songwriting Camp | plus video SUISA organised the second edition of its Songwriting Camp in cooperation with Pele Loriano Productions. Like the premiere last year the camp again took place at the Powerplay Studios in Maur. A total of 36 musicians from eight different countries attended the three-day event in June 2018, creating 19 pop songs in a wide range of musical styles. Read more
Collapse article

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.

Lo & Leduc and their co-composer Maurice “Dr Mo” Könz have made history with “079”: Last year, the song stayed an entire 21 weeks at the top of the national charts – and thus broke a Swiss record. “079” is one of the three nominated songs for the “Best Hit award at the “Swiss Music Awards” 2019. Musician and lecturer for musicology, Hans Feigenwinter, analysed the hit composition. Text by Giorgio Tebaldi; Video by Sibylle Roth

How “079” found its way into the Swiss charts is already a remarkable story. In February 2018, Lo & Leduc offered the song and the respective album “Update 4.0” for streaming and downloading, free of charge, on their website – “because of joy” as they said in an interview at the time. The audience liked the...read more

Label Suisse: a showcase for Swiss music in all its diversity

The eighth edition of the Label Suisse Festival was held in Lausanne from 14 to 16 September. The biennial festival, dedicated to Swiss musicians and creators, offers the public a broad panorama of Switzerland’s current music landscape. Text and Interviews by Erika Weibel

Label Suisse: a showcase for Swiss music in all its diversity

The main stage of the Label Suisse Festival at the “Place Centrale” in Lausanne during the performance of Geneva hip-hop group Superwak Clique on Saturday 15 October 2018. (Photo: Anne Bichsel)

90,000 visitors attended the 8th edition of the Label Suisse Festival, enjoying over 60 concerts of multifarious music styles at 10 locations in the centre of Lausanne. The full range of Swiss music was showcased: from electronic music to pop-rock, from contemporary and classical music to jazz, and last but not least, new folk music. All in one festival!

Label Suisse’s programming team attaches great importance to booking both more experienced Swiss artists and promising newcomers. Admission to all concerts is free since the full cost of the festival is financed by the sponsors. SUISA has supported Label Suisse financially since 2006, and was again one of the festival’s main partners in 2018.

The members of the programming team are each in charge of a specific musical genre. After the festival, we asked them how they went about selecting their artists, what they think is particularly exciting about the festival, and about current trends in the various genres. We also asked Julien Gross, President of Label Suisse, what he considered the highlights of the 2018 edition.

Label Suisse: Julien Gross

Julien Gross (Photo: Anne Bichsel)

Julien Gross, President of the Label Suisse association

As President of the Label Suisse association, you have been working hard for several years to make the festival a success. In your opinion, what makes Label Suisse particularly attractive?
Julien Gross: Label Suisse is unique for the broad artistic spectrum of musical styles in its programming. As a result, the festival brings together all audiences across all generations for three days.
Artists from all four language regions perform for the delight of a curious, attentive, and faithful public. Radio plays an important role in broadcasting music from the festival nationwide for the three days.

The latest festival was the 8th edition of Label Suisse. The festival has been held every second year since its first edition in 2004. What changes has the festival undergone in these 14 years?
Actually, it’s mainly Swiss music that has evolved. Creative, innovative and original, Label Suisse tries to present a snapshot of all the Switzerland’s musical scenes.
We try to awaken the urge for discovery and the desire to embark upon a musical adventure. To reinforce the presence of certain styles, or propose original creations.

Groups from all over Switzerland representing a great variety of musical genres come to Lausanne to take part in the festival. Subjectively speaking, which shows did you find most exciting?
I truly love wandering around the festival grounds. I enjoy the challenge of discovering musical styles that are not usually part of my everyday life. That’s what I find most exciting.

Label Suisse: Laurence Vinclair

Laurence Vinclair (Photo: Mehdi Benkler)

Laurence Vinclair, modern music programming

What is the special interest in being responsible for the programming of a single genre for a music festival which combines so many different styles of music?
Laurence Vinclair: The interest lies in being able to showcase deserving artists for three days, artists whose development I follow all year round, sometimes over many years. And to enable a diverse public to discover styles that they might otherwise never listen to.

What criteria did you apply in selecting the artists and bands?
The criteria are quality, topicality, artistic motivation and potential.

What are the current trends in the musical genre you are responsible for programming? What effects do these trends have on the actors of the Swiss music world?
The clearest trend is hip-hop, or urban music; this style has taken the lead over all the others as you can tell by looking at the programming in clubs and festivals the last two years.

Label Suisse: Stefano Saccon

Stefano Saccon (Photo: Claude Berthelier)

Stefano Saccon, jazz programming

What is the special interest in being responsible for the programming of a single genre for a music festival which combines so many different styles of music?
Stefano Saccon: The intelligence and the strength of the festival is to employ competent people in each area in order to identify the most representative musicians. Being part of a committee of experts is a stimulating way to encourage relevant and complementary programming.

What criteria did you apply in selecting the artists and bands?
The diversity of supply in the jazz area forces you take a broad view and apply criteria which can be adapted in line with the artistic approach. In any event, the project must be original and add value to the rest of the programming; it must be in tune with the times while being clearly anchored in tradition; it must be mature and have potential for development.

What are the current trends in the musical genre you are resonsible for programming? What effects do these trends have on the actors of the Swiss music world?
There are three trends in my opinion:
a) the association of the acoustic and the electronic, the curiosity about the DJ world, and the sensitisation to new sound textures;
b) the minimalism which places the group rather than the solist at the centre of attention, in keeping with a more conventional approach;
c) the desire to develop writing on more complex rhythmic matrices.
Today, all jazz musicians possess great instrumental mastery, and a huge curiosity stimulating boundless creativity. Considering that they are faced with growing supply and increasing competition, I think musicians show tremendous humility and exemplary mutual respect.

Label Suisse: Johannes Rühl

Johannes Rühl (Photo: Roland Zemp)

Johannes Rühl, new folk music programming

What is the special interest in being responsible for the programming of a single genre for a music festival which combines so many different styles of music?
Johannes Rühl: Very few festivals offer the stylistic breadth that Label Suisse does. That in itself is a major feat. In terms of programming, it means that each musical genre has to co-exist with the others. Moreover, the concerts can be expected to attract a highly differentiated public. This kind of festival is truly one of a kind for the curious music lover; we draw the best public we could dream of.

What criteria did you apply in selecting the artists and ensembles?
New folk is a predominantly Swiss German musical phenomenon. To lure audiences from other language regions of the country you have to make this music attractive – especially since it takes a little getting used to. That’s why we try to book groups that have a certain stylistic openness. That’s what we focus on more particularly, in addition to quality of course.

What are the current trends in the musical genre you are responsible for programming? What effects do these trends have on the actors of the Swiss music world?
New Swiss folk music is essentially the popular heritage of the last century. In those days, music was protest; today, musicians have more affinity with tradition. They bring the material to life without blinkers, creating something completely new and previously unheard. The Hochschule Luzern Musik, the School of Music in Lucerne, has been vital to this genre in the last few years, and is a breeding ground for excellent talent. This trend is far from over, and I believe that it still holds much good in store.

Label Suisse: Claire Brawand

Claire Brawand (Photo: Nathalie Langlois)

Claire Brawand, classical and contemporary music programming

What is the special interest in being responsible for the programming of a single genre for a music festival which combines so many different styles of music?
Claire Brawand: the act of programming is always set in a particular context which has to be taken into account. In the case of Label Suisse (diversity of styles with a predominance of modern music, national dimension, different locations, free admission, broad public with lots of young people), the context is quite different to the normal context for classical music (from baroque to contemporary) and its aficionados. I see it as a highly fertile field for experimentation, which makes my programming mission even more stimulating; one of the main aims is to encourage festival-goers to discover the universe of classical music through one person, one energy or a special concert format. Label Suisse’s great freedom of movement, underscored by the mixture of styles in a single place, makes this possible.

What criteria did you apply in selecting the artists and ensembles?
In the classical programming, I favoured artists – performers and composers – who are powerful and unique, and whose approach is strongly resonant with the identity of the Festival, namely: contemporary, hence topical, and exploratory. This disposition on the part of the classical artist is essential for the special context of Label Suisse. As a result, we focused on the repertoires of the 20th and 21st centuries (including creations) and, with regard to the 21st century, on Swiss composers of all generations.

What are the current trends in the musical genre you are responsible for programming? What effects do these trends have on the actors of the Swiss music world?
Increasing trans-disciplinarity between the arts (visual, sound, composition) and esthetics. A strong capacity for renewal in the approach of the young generations of cutting-edge musicians in terms of their concert programming. Today, they consider the contribution of classical music freely, unconstrained by the barriers inherited from prior generations.

www.labelsuisse.ch

Related articles
Swiss creations at Festival ArchipelSwiss creations at Festival Archipel By placing four Swiss composers in the limelight on Wednesday 21 March 2018, Festival Archipel demonstrated that Swiss composers are still very present in contemporary music. Read more
Jazz in Bess: 20,000 Swiss Francs and an imaginary composition project20,000 Swiss Francs and an imaginary composition project To discuss artistic creation is anything but simple. That’s why Swiss association Jazzy Jams and SUISA have come up with something special in the course of the Jazz Festival in Bess (Lugano). Composer Maria Bonzanigo, from Ticino, and composers Pietro Viviani and Damiano Merzari developed an imaginary composition project in front of the audience. The result was rather fascinating and took those present on a journey into the thought-world of authors. Read more
Marcel Oetiker: “I often get inspired when I am travelling” | plus videoMarcel Oetiker: “I often get inspired when I am travelling” | plus video At the Zurich station, Hardbrücke, trains rush past, screech in the bends, and groan when starting up and when braking. But Marcel Oetiker has not chosen this as a meeting point because such sounds inspire some artists to take a creative flight of fancy. Read more
Collapse article

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.

The eighth edition of the Label Suisse Festival was held in Lausanne from 14 to 16 September. The biennial festival, dedicated to Swiss musicians and creators, offers the public a broad panorama of Switzerland’s current music landscape. Text and Interviews by Erika Weibel

Label Suisse: a showcase for Swiss music in all its diversity

The main stage of the Label Suisse Festival at the “Place Centrale” in Lausanne during the performance of Geneva hip-hop group Superwak Clique on Saturday 15 October 2018. (Photo: Anne Bichsel)

90,000 visitors attended the 8th edition of the Label Suisse Festival, enjoying over 60 concerts of multifarious music styles at 10 locations in the centre of Lausanne. The full range of Swiss music was showcased: from electronic music to pop-rock, from contemporary and classical music to jazz, and last but not least, new folk music. All in one festival!

Label...read more

Minor amendments only to noise legislation

The ordinance on the federal act governing protection against non-ionising radiation and sound hazards (V-NISSG) was sent to the consultation stage in February 2018. The draft regulation provided more stringent requirements for events involving electrically amplified sound, as well as new stipulations for events without amplification. It was announced in early October that the Federal Office of Public Health would not adopt the most stringent restrictions. Text by Sarah Coopman

V-NISSG: Minor amendments only to noise legislation

Much ado about (almost) nothing: following fierce resistance from industry representatives affected by the proposed changes, the Federal Office of Public Health will refrain from major changes to noise protection legislation (including for major concerts such as the one pictured). (Photo: Marcel Grubenmann)

If you want to learn more about the limits and restrictions that currently apply to sound at events, check the Sound Levels and Laser Ordinance (SLO). It first and foremost states that events with a noise level of less than 93 dB(A) are not subject to any legal stipulations. These threshold values are determined using the average noise level during a one-hour period. According to the current SLO, the requirements for event organisers take effect when noise levels reach at least 93 dB(A) per hour for events that use electric amplification.

Current SLO regulations

The sound protection measures required differ according to the average sound level and can be divided into three categories. The first category of events comprises those with an average hourly noise level of between 93 and 96 dB(A). The organiser is required to report an event to the enforcement agency 14 days in advance. The audience must then be informed of possible damage to their hearing through signs at the event itself. Free ear protection must be provided. Finally, the SLO requires the noise level to be monitored with a decibel meter during the event. No special requirements exist for these meters.

The average hourly noise level at an event that uses electric amplification may not exceed 100 dB(A). For events with a noise level of between 96 and 100 dB(A), the same requirements apply as for events in the first category, provided the total duration of the noise does not exceed three hours. Again, event organisers are subject to the following requirements: a duty to notify the authorities of the event, a duty to inform the audience and provide earplugs, and a duty to monitor the noise level throughout the entire event.

No requirements for unamplified noise so far

However, if the duration of noise exceeds three hours stricter rules apply. In this case, the event organiser must record the noise level and create a quiet zone to compensate. The noise level may not exceed 85 dB(A) in this zone.

The maximum noise level, i.e. the loudest level of noise exposure measured at any given point, may not exceed 125 dB(A) at any time. Unamplified sound is not currently subject to any conditions. This means that symphony orchestras, opera singers or Guggenmusik bands are not subject to any of the above limits and the associated requirements. These are the regulations for events with electrically amplified sound according to the currently applicable sound regulations.

Opposition to V-NISSG draft ordinance

The draft of the new ordinance concerning the federal act governing protection against non-ionising radiation and sound hazards, V-NISSG, largely adopted and selectively amended these regulations. The draft ordinance also provided stipulations for events without amplification. And it would have expanded the obligation to record the noise level to all events with an average noise level in excess of 93 dB(A). The federal government also wanted to institute more stringent requirements for the recording devices.

During the consultation, industry representatives vehemently opposed the proposed changes. Following discussions with industry representatives in late September, the Federal Office of Public Health (FOPH) has now decided to abandon these changes and will ask the Federal Council to remove the more extensive recording requirements. This means that the status quo remains in terms of the recording requirements, with recording only required at events with an average noise level in excess of 96 dB(A) for more than three hours.

FOPH will refrain largely from tightening

The FOPH will request only that events with unamplified sound of above 93 dB(A) be subject to a duty to inform the audience and provide free ear protection. The previous obligation to notify the authorities will be removed. Minimum requirements will apply to orchestral performances, classical music concerts and similar events, provided the noise level of 93 dB(A) is reached.

The stricter requirements for decibel meters are unlikely to be implemented. Rather, the requirements for the meters and the measuring method should be defined per se based on an industry recommendation.

No major changes to noise control legislation are therefore expected in light of these developments. In particular, the current limits will remain in place. According to the FOPH, these conditions have been accepted by industry representatives and were not questioned during the course of the consultation. However, the extent to which changes may still be incorporated into the new ordinance is not fully clear at the moment. The Federal Council will decide definitively on the implementation and entry into force of the draft ordinance in early 2019.

Related articles
If bands and event promoters organise a concert togetherIf bands and event promoters organise a concert together The event organiser of a concert has to pay the copyright licence fee. How does it affect the legal situation, if musicians and organisers jointly run the performance by way of a cooperation? The concert organiser is responsible for paying the copyright licence fee in the case of artist engagement agreements. It occurs that events are organised by the bands themselves or in cooperation with third parties. In such cases, the type of cooperation between the band and the organiser determines who has to pay the copyright licence fee. Read more
“Hands-on” – the new Common Tariff K“Hands-on” – the new Common Tariff K The new Joint Tariff K applies to events which have taken place since 01 January 2017. An overview of the changes to the concert tariff in force and some answers to frequently asked questions which have arisen based on the experience gathered with the new provisions in the first few months. Read more
Copyright law revision: work starts in the parliamentary committeesCopyright law revision: work starts in the parliamentary committees On 22 November 2017, the Federal Council presented its Message on the revision of the Federal Copyright Act (FCA), and referred the copyright bill (FCA-B) to the two houses of Parliament. The bill reflects the compromise reached by the AGUR12 II working group at the beginning of March 2017. Parliament has started working on the bill, and SUISA was invited to present its point of view on 12 April 2018 at a hearing organised by the Science, Education and Culture Committee of the National Council. SUISA also had the opportunity to state its views before the Legal Affairs Committee of the National Council, first in writing and then orally on 18 May 2018. Read more
Collapse article

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.

The ordinance on the federal act governing protection against non-ionising radiation and sound hazards (V-NISSG) was sent to the consultation stage in February 2018. The draft regulation provided more stringent requirements for events involving electrically amplified sound, as well as new stipulations for events without amplification. It was announced in early October that the Federal Office of Public Health would not adopt the most stringent restrictions. Text by Sarah Coopman

V-NISSG: Minor amendments only to noise legislation

Much ado about (almost) nothing: following fierce resistance from industry representatives affected by the proposed changes, the Federal Office of Public Health will refrain from major changes to noise protection legislation (including for major concerts such as the one pictured). (Photo: Marcel Grubenmann)

If you want to learn more about the limits and restrictions that currently apply to sound at events, check the...read more