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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

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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

“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. Text by Manu Leuenberger

Belenus Quartett: “SUISA Day” at the Murten Classics Festival proves a resounding success

In the third and final concert of the “Offen für Neues” series on 25 August 2018 at the Murten Classics Festival, the Belenus Quartet performed works by Daniel Schnyder, Cécile Marti, Iris Szeghy and Marco Antonio Perez-Ramirez. (Photo: Willi Piller)

The programme for this outstanding day of concerts at the Murten Classics Festival began early, with guests arriving in numbers at the Kultur im Beaulieu (KiB) concert hall in Murten in time for the opening speech by the musicologist Dr. Irène Minder-Jeanneret at 10:00 am. The three-concert series, featuring works by 13 contemporary composers, attracted interest from far beyond the region’s borders. In a review published two days after the event, the “Freiburger Nachrichten” wrote: “There was hardly a spare seat inside the cultural centre.”

The festival guide had announced the SUISA-supported day of concerts in the “Offen für Neues” series as “a day of encounter”. This proved to be true in several respects on the day itself on Saturday, 25 August 2018: thanks to the wide range of works performed, the audience had a chance to discover the tonal variety of the contemporary compositions. Many of the composers whose pieces were played had travelled to Murten themselves, where they provided insights into their musical philosophy in short introductory speeches. The musicians in attendance also engaged in lively discussions during the breaks between the three concerts.

Well organised, interpreted and integrated

One of the ideas behind the day was “not to try and impress with premières, but instead to show a broad musical spectrum”, explained Roman Brotbeck, who as the moderator guided the audience through the programme. Andreas Zurbriggen praised this approach in his review in “Schweizer Musikzeitung” (September/October 2018). According to him, there are enough world premières, but the same cannot be said of second and third performances of contemporary pieces. Zurbriggen believes the organisers succeeded in their aim, with the artistic director, Kaspar Zehnder, demonstrating his talent for putting together a programme and “allowing different worlds to collide”. “And the interpretations, such as those of the Belenus Quartet, the pianist Gilles Grimaître and Ensemble mit vier, were of a very high standard”, wrote the reviewer in the same article.

The review of the concert day in the “Freiburger Nachrichten” concluded by saying: “It’s good that there is a place for these kinds of experiments in the festival programme alongside the popular concerts.” The ambitious “Offen für Neues” one-day project of the Murten Classics Festival and SUISA met with a positive response all round, as also shown by the feedback from the participants below.

In its programme “Neue Musik im Konzert” on Wednesday, 7 November 2018 at 9 pm, Radio SRF 2 Kultur will play excerpts from the three concerts held on 25 August 2018.

Katrin Frauchiger

In her short introductory speech, composer Katrin Frauchiger from Berne explained her piece “Mare nostrum” for flute and string trio, which was subsequently played in concert. (Photo: Willi Piller)

Katrin Frauchiger, composer and singer, lecturer HSLU:

“As a composer, I greatly appreciate the joint commitment made by Murten Classics and SUISA in hosting an entire day of contemporary music. The organisers’ courage in sending out an important message within the context of the Murten Festival paid off in every respect: the event attracted a large audience of extremely interested people who were open to new music.
Three fresh, carefully curated concerts were presented with a speech and introduction, and each had an inspiring theme for the listener: Waves from another world / Immigration-Emigration / Roots and great places. In a conversation with Roman Brotbeck, I had the opportunity to personally introduce my piece ‘Mare Nostrum’ and thus open the door to a beautiful performance of my music. The other composers present also had the same opportunity. The interaction between the audience and the composers was equally valuable, some of whom had travelled from afar.”

Irene Minder-Jeanneret

“An architect can make a living from their compositions, but this is hardly true for a composer”, said the musicologist Dr. Irène Minder-Jeanneret during the opening speech, going on to explain why Swiss music artists deserve more recognition. (Photo: Willi Piller)

Dr. Irène Minder-Jeanneret, musicologist, member of the Dictionary of Music in Switzerland steering group:

“SUISA Day offered a valuable and rare tour of both the music industry and the cultural-political significance of music in Switzerland. It illustrated the gap between the lively and exceptional musical reality in our country and the lack of political recognition. Although a third of the population is actively involved in making music, Switzerland is still not perceived as a musical country. Creating, making, teaching, distributing and documenting music are equal facets of an important cultural sector, and they deserve to be recognised, promoted and made known at all political levels. Just as in the film industry, there are some activities in the musical field that cannot be supported by the cantons alone.
As a member of the Dictionary of Music in Switzerland steering group, SUISA Day gave me a unique opportunity to talk to participants from all areas of music. Without doubt, the event also helped to raise awareness of the individual concerns.”

Kaspar Zehnder

The artistic director of the Murten Classics Festival, Kaspar Zehnder, also played the flute at SUISA Day. (Photo: Willi Piller)

Kaspar Zehnder, artistic director of Murten Classics and curator of the first ‘SUISA Day’ on 25 August 2018:

“The heterogeneity and diversity of the programme made for an interesting and exciting day. Through combination of a wide variety of aesthetics, it provided the perfect stage for the audience, composers, presenters and performers to engage in lively discussions, or to enjoy a slice of Murten cream cake and a glass of red wine from Vully in rapt silence.
At the very least, SUISA Day should become a biennial tradition at the Murten Classics.”

www.murtenclassics.ch

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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. Text by Manu Leuenberger

Belenus Quartett: “SUISA Day” at the Murten Classics Festival proves a resounding success

In the third and final concert of the “Offen für Neues” series on 25 August 2018 at the Murten Classics Festival, the Belenus Quartet performed works by Daniel Schnyder, Cécile Marti, Iris Szeghy and Marco Antonio Perez-Ramirez. (Photo: Willi Piller)

The programme for this outstanding day of concerts at the Murten Classics Festival began early, with guests arriving in numbers at the Kultur im Beaulieu (KiB) concert hall in Murten in time for the opening speech by the musicologist Dr. Irène Minder-Jeanneret...read more

Open for a new things at the Festival Murten Classics

On Saturday 25 August 2018, the Festival Murten Classics and SUISA extend an invitation to immerse yourself into the world of contemporary music for one day. Three concerts with works by 13 composers of various generations, origins and aesthetics will be performed. The supporting programme will provide the audience with a possibility to learn more about being ‘on the way’ in today’s musical environment or to talk about the new compositions. Text by Erika Weibel and Manu Leuenberger

Open for a new things at the Festival Murten Classics

Composer Cécile Marti spent time for her musical studies in Zurich, Lucerne and Basel and worked on her dissertation in London. Her string quartet “Trapez” is one of 13 works which will be performed on 25/08/2018 in the concert series “Open for new things” at the Festival Murten Classics. (Photo: Suzie Maeder)

The Festival Murten Classics is celebrating 30 years of existence this year. Its anniversary event takes place between 12 August and 2 September 2018. This year’s festival programme is under the motto “On the road – en chemin” and intends to facilitate musical time travel through five centuries. It intentionally places terms with a negative connotation such as flight, migration and emigration side to side with inspiring travels and journeys of composers and artists.

For quite some time, the Festival Murten Classics has been curating contemporary music repertoire in its concert series “Open for new things”. The artistic director of the festival, Kaspar Zehnder, states in an interview with the ‘Freiburger Nachrichten’ that “these concerts appeal to the curiosity of the audience, and the audience is usually not disappointed”.

In collaboration with SUISA, the Festival programme offers an entire day of encounters this year: In the course of the concert series “Open for new things”, three concerts with works of 13 different contemporary composers will be performed in the cultural centre in the Beaulieu Park in Murten between the morning and the late afternoon on Saturday, 25 August 2018.

The audience can, as part of a supporting programme including the opportunity to have lunch, find out more from experts and artists about today’s life as a music creator and current music creation, or discuss these items. Apart from an introduction at the kickoff in the morning, chaired discussion groups with the attending composers are held during the day, where the audience may also ask questions on the creation and the journey of the works.

True to this year’s festival motto “On the road – en chemin”, the works performed on this day will be by authors who are “on the road” yet related to Switzerland. These composers have emigrated from Switzerland, migrated to Switzerland, but always been in another spot or fled from place to place.

Visitors on that day of the musical encounters can find out what kind of soundscapes develop based on these life paths and life experiences. Day tickets for this event on 25 August 2018 in the concert series “Open for new things” can be acquired inclusive or exclusive of lunch on the website of the festival.


Programme: “Open for new things”, a day of encounters at the Murten Classics

25 August 2018

Event venue
The Kleintheater KiB (Kultur im Beaulieu)

Motto: On the road – en chemin.
Various interpretations of a festival theme
Emigrated from Switzerland
Migrated to Switzerland
Always on the road
On the run

10 o’clock – INTRODUCTION
Dr. Irène Minder-Jeanneret
Presentation: Dr. Roman Brotbeck

Concert 1 (approx. 11.00 – 12.00)
WAVES FROM ANOTHER WORLD

Giorgio Tedde (*1958): Atlas (2005) for flute and string trio
Katrin Frauchiger (*1967): Mare nostrum (2015) for flute and string trio
Aram Hovhannisyan (*1984): Litanies I-IV (2008/09) for piano
Jean-Luc Darbellay (*1946): Waves (2011) for flute and alto flute
Fritz Voegelin (*1943): Dual (2009/10) for alto flute and string trio

Ana Ioana Oltean, flute
Gilles Grimaître, piano
Ensemble for four: Kaspar Zehnder, flute / alto flute; Charlotte Zehnder, violin; Dorothee Schmid, viola; Urs Fischer, violoncello

Concert 2 (approx. 13.30 – 14.30)
IMMIGRATION – EMIGRATION

Maria Niederberger (*1949): Mountain visions (2009/10) for solo violin
Maria Niederberger (*1949): Hommage à Frédéric Chopin (2008/09) for solo piano
Thomas Fortmann (*1951): Burlesque “Elena e Greta” for two flutes and piano
Jan Beran (*1959): “Strange words the wind tossed” for violin and piano
Jan Beran (*1959): “Leis wie eine Märchenweise” for solo piano
Wael Sami Elkholy (*1976): “Skies’ Calls“ (2011) for voice and tape

René Kubelik, violin
Patrizio Mazzola, piano
Ana Ioana Oltean, flute
Kaspar Zehnder, flute
Wael Sami Elkholy, voice

Concert 3 (approx. 16.00 – 17.00)
ROOTS AND GREAT PLACES

Daniel Schnyder (*1961): 4th String quartet “Great places” – Shanghai 1928, Havana 1952, Paris 1901, Casablanca 1933, New York City 1964
Cécile Marti (*1973): Trapez (2012)
Iris Szeghy (*1956): Aria (2007/16)
Marco Antonio Perez-Ramirez (*1964): Primitive Dream (2009)

Belenus Quartet: Seraina Pfenninger, violin; Anne Battegay, violin; Esther Fritzsche, viola; Jonas Vischi, violoncello

www.murtenclassics.ch

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On Saturday 25 August 2018, the Festival Murten Classics and SUISA extend an invitation to immerse yourself into the world of contemporary music for one day. Three concerts with works by 13 composers of various generations, origins and aesthetics will be performed. The supporting programme will provide the audience with a possibility to learn more about being ‘on the way’ in today’s musical environment or to talk about the new compositions. Text by Erika Weibel and Manu Leuenberger

Open for a new things at the Festival Murten Classics

Composer Cécile Marti spent time for her musical studies in Zurich, Lucerne and Basel and worked on her dissertation in London. Her string quartet “Trapez” is one of 13 works which will be performed on 25/08/2018 in the concert series “Open for new things” at the Festival Murten Classics. (Photo: Suzie Maeder)

The Festival Murten...read more

Swiss 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. Text by guest author Sébastien Cayet

Swiss creations at Festival Archipel

Katharina Rosenberger, a Swiss composer who was born in Zurich and works in the US, and festival director Marc Texier at the introductory discussion for the “Swiss Concert Evening“ at the Festival Archipel on 21 March 2018 in Geneva. (Photo: Manu Leuenberger)

With the support of SUISA, the Cooperative Society of Music Authors and Publishers, Archipel proposed an evening in two parts. In cooperation with SUISA, Marc Texier, General Manager of the Festival, invited Swiss composers Katharina Rosenberger and Michael Pelzel for a pre-concert interview. This was a good opportunity to hear about their activities, influences, composition methods and projects.

The least one can say is that their influences are at opposite ends of the spectrum: Katharina Rosenberger draws her musical references from the Renaissance, namely Willaert and De Rore in particular, while Michael Pelzel willingly avows that, in his piece he used Indian and African techniques to create a contrast between western and non-European music, and between tradition and innovation. The range of their activities does not, however, stop at composition; one teaches in the United States, the other plays the organ.

This means that neither of them have to rely solely on composing for their livelihood; they agree that the surge in streaming, is eliminating – or strongly eroding – CDs and live shows, which are an important source of income for them. Fortunately for the composers, SUISA is committed to safeguarding their copyrights, and makes sure they are remunerated when their compositions are performed.

Swiss creations and international creations

After the interview, the concert was ready to start. Four pieces are on the programme: two Swiss creations, namely “Tempi agitati“ by Katharina Rosenberger and “Ante Litteram“ by Oscar Bianchi, and two international creations, namely “Etüdienbuch zu Diabelli“ by Michael Pelzel and “Präludien Buch 1-4“ by Mischa Käser.

The Neue Vocalsolisten Stuttgart, a German vocal ensemble, performed a customised repertoire composed especially for them. They had already performed the piece by Oscar Bianchi in 2012 and that by Katharina Rosenberger in 2016.

In “Tempi agitati“ – performed in an abridged version that evening – Katharina Rosenberger creates contrasted settings thanks to alternating aesthetics and a staging based on the acoustics and architecture of the concert hall. The performance starts in the dark. The soloists are sitting among the audience. Suddenly, one of them starts a dialogue of onomatopoeia. With precision, the vocalists answer, wait for and interrupt one another. They then come together on stage and strike up a polyphonic song in Renaissance style, with a nod to Adrian Willaert and Cipriano de Rore.

In revisiting the music of the Renaissance, the composer is seeking the natural sound of the voice. The voices of the soloists are pure, linear and without artifice – but not without emotion. The beginning of “Tempi agitati“ is characteristic of the piece; the singers move about the room, alternate and juxtapose the aesthetics, tempi and characters, and finish like they started: in the dark, offstage and non visible to the audience.

Each musical effect has a meaning

In “Ante Litteram“, Oscar Bianchi is inspired by David Foster Wallace’s “Infinite Jest“ and Nietzsche’s “Antechrist“ where he finds “the same empathy and lucidity in the exploration of the reasons preventing man from achieving deeper self-knowledge and self-awareness”. The piece has three underlying themes: evil, morality and salvation, and each musical effect has a meaning.

After a beginning spoken in homorhythm, the voices stagger out slowly, adopting different rhythms and renditions, like clear and coherent thought which becomes lost in the meanders of the mind. The dissonance between the sopranos, for example, evokes pain, the imitated laughter tends towards absurdity, while the variations in pace run parallel to the variation of our own internal agitation.

Diabelli, in the work of Michael Pelzel, refers neither to the composer Anton Diabelli, nor to Beethoven’s “Diabelli variations“. “Etüdenbuch zu Diabelli“ for six voices a cappella is based on a story by Hermann Burger in which a magician decides to put an end to his life as an artist. The studies, which can be sung in random order, play on the rhythms provoked by the synchronisation and desynchronisation of the voices. Moreover, the tempi are sometimes superimposed, with the female and male voices beating to different pulsations so that the voices enter into opposition.

Neue Vocalsolisten Stuttgart lived up to expectations

To end the evening, Mischer Käser’s “Präludien Buch 1-4“ was rich in musical elements: superposed effects – spoken voice, operatic cell, rhythmic cell – rendering the voices independent from each other, dramatisation, with sighing, breathing and perfectly synchronised surprise effects. The composer wanted “exotic song techniques to cohabit with familiar sounds and make them alien”. Surprise and originality are the characteristic features of the work, as well as the dichotomy between the western form of the prelude and the “exotic techniques” used.

Neue Vocalsolisten Stuttgart lived up to our expectations; the apparent ease with which they performed the virtuoso repertoire was disconcerting. There is no question about their versatility in mastering the works, effects and even the aesthetics. The performance highlighted the perfect understanding and osmosis between the members of the group which enables them to grasp every aspect of these virtuoso works and transcend them in their interpretation.

www.archipel.org

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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. Text by guest author Sébastien Cayet

Swiss creations at Festival Archipel

Katharina Rosenberger, a Swiss composer who was born in Zurich and works in the US, and festival director Marc Texier at the introductory discussion for the “Swiss Concert Evening“ at the Festival Archipel on 21 March 2018 in Geneva. (Photo: Manu Leuenberger)

With the support of SUISA, the Cooperative Society of Music Authors and Publishers, Archipel proposed an evening in two parts. In cooperation with SUISA, Marc Texier, General Manager of the Festival, invited Swiss composers Katharina Rosenberger and Michael Pelzel for a pre-concert interview. This was a good opportunity to hear about their activities, influences, composition methods and projects.

The least...read more

Julien-François Zbinden: 100 years’ old!

Julien-François Zbinden is a pianist, composer, writer and … 100 years’ old. On 11 November 2017, the honorary member of SUISA will celebrate his centennial birthday. For the occasion, the guest author Jean-Pierre Mathez has been invited to review the jubilarian’s life and work.

Julien-François Zbinden: 100 years' old!

Julien-François Zbinden, former President and now honorary member of SUISA will celebrate his 100th birthday on 11 November 2017 (Photo: Yvan Ischer)

Ford Model T year 1913. (Photo: Ryan Fletcher / Shutterstock.com)

Julien-François Zbinden was born on 11 November 1917, nine years after the Ford T. He was a privileged and attentive witness to the extra-ordinary technological, artistic, moral and spiritual developments which revolutionised Man’s life on this planet during his lifetime.

His musical adventure started with his beloved piano. In his own words:

“Still today, it shares my passion for jazz music, and our complicity is enshrined in the album ‘The Last Call…?’ which I recorded when I was 93. ‘It’ is my instrument, my more than one century-old piano: a Blüthner Model 190, No. 89293, built in Leipzig in 1910, to which I dedicate this Opus 111 (titled ‘Blüthner-Variationen’, published by Editions Bim PNO67, Author’s note) which completes my series of works for the piano.”

Self-portrait, engraving on linoleum, 1937.

Julien-François Zbinden first earned his living as a bar pianist, passionately initiating himself to jazz and then to composition.

When he was 30, he started his career with the music department of Radio Suisse Romande, which he marked with his administrative imprint and open-mindedness until stepping down in 1982. Glorious years with the Orchestre de Chambre de Lausanne, Fanfare Perce-Oreille, classical and popular choirs across French-speaking Switzerland, stars of “la chanson française”, jazz orchestras; he participated in and hosted on-air debates with talent and respect for the opinions of others. He brought numerous celebrities from the musical world to Lausanne: the RSR archives contain a wealth of live interviews and recordings with famous artists. He opened the RSR’s doors to all genres of quality music, irrigating a pluralist culture in the Romandie and other French-speaking countries.

When he was in his mid-fifties, he passed his aviator’s licence, reveling in the emotion of his aerial arabesques and the thrill of the miniaturised view of life on earth.

Julien-François Zbinden in front of a Piper L4, initiation to landing (Glacier des Diablerets, 11.12.1975). (Photo: ZvG)

Julien-François Zbinden at the piano, January 2017. (Photo: ZvG)

On reaching retirement age, Julien-François Zbinden left the RSR and devoted himself heart and soul to composing (he would write over one hundred works), to his friends, to travelling and writing (an impressive bibliography and two more recent books), not to forget recording two recent jazz albums on the piano (TCB Montreux).

He was President of the Association des Musiciens suisses (1973 to 1979) and of SUISA from 1987 to 1991.

Julien-François Zbinden is also a valuable living memory, a well of knowledge, a man of letters who has observed and analysed his times with great perspicacity. His musical works have been played worldwide and are published by major European publishing houses (since 1988, all his new works have been published in Switzerland by Editions Bim).

We hope that the Swiss musical world, in the Romandie in particular, will not forget this exceptional artist and will continue to pass on his works to future generations of musicians and music-lovers in our country.

Read (much) more about Julien-François Zbinden: www.jfzbinden.ch

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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
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Julien-François Zbinden is a pianist, composer, writer and … 100 years’ old. On 11 November 2017, the honorary member of SUISA will celebrate his centennial birthday. For the occasion, the guest author Jean-Pierre Mathez has been invited to review the jubilarian’s life and work.

Julien-François Zbinden: 100 years' old!

Julien-François Zbinden, former President and now honorary member of SUISA will celebrate his 100th birthday on 11 November 2017 (Photo: Yvan Ischer)

Ford Model T year 1913. (Photo: Ryan Fletcher / Shutterstock.com)

Julien-François Zbinden was born on 11 November 1917, nine years after the Ford T. He was a privileged and attentive witness to the extra-ordinary technological, artistic, moral and spiritual developments which revolutionised Man’s life on this planet during his lifetime.

His musical adventure started with his beloved piano. In his own words:

“Still today, it shares my passion for jazz music,...read more

Composition in time and space

On Saturday, 23 September 2017, during the Basel Biennale Zeiträume (‘spaces in time’), which unifies new music and architecture, one female and three male composers will discuss at an open platform how their works are created. Text by Erika Weibel

Composition in time and space

The Basel Biennale for new music and architecture hosts a composer panel under the title “creating spaces in time” on 23 September 2017 at 3.00pm. (Photo: Anna Katharina Scheidegger)

From 16 to 24 September 2017, Basel is opening its doors to an exciting listening experience: New music can be heard in the most unusual nooks and crannies of Basel’s alleys. Both young and old are invited to participate in this musical adventure. There is, for example, the indoor swimming pool performance of “Wasserspiel” (Compositions and improvisations for changing line-ups in the indoor swimming pool Spiegelfeld Binningen), but you can also enjoy the experience of an Alpine horn concert on the Basel Münsterplatz. Museums, towers, even cemeteries open their doors to the new music and provide the public with the opportunity to enjoy a completely new perception of time and space.

The festival Zeiträume stands out by commissioning composers to create works for pre-determined event spaces which will then have their première during the festival. The attentive listener does therefore not only benefit from listening to a variety of premières, but can witness which effect and impact the actual event space has had on the work of the composers.

Composer panel

A female and three male composers whose works have their premières during this year’s Biennale, will exchange their views during the public discussion “creating spaces in time” on 23 September 2017. How much have you been inspired by the event spaces in terms of composing your work? How do the works come into existence and for whom are they written? The composers speak of their work and provide information on their new works which they have created for the festival.

Free entrance – reservation required

Grab the opportunity to listen to the exchange of ideas among composers and to ask questions. You are also cordially invited to the ensuing aperitif where you can join in the continuation of philosophical conversations on the topic of creating compositions in time and space.

Werkraum Warteck PP / Restaurant Don Camillo, Burgweg 7, 4058 Basel
23 September, 3.00pm
Panel participants: Beat Gysin, Junghae Lee, Mario Pagliarani, Balthasar Streiff
Presentation: Bernhard Günther

Further information and a programme of the festival Zeiträume can be accessed at: www.zeitraeumebasel.com

The composers’ panel will be presented by SUISA.

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On Saturday, 23 September 2017, during the Basel Biennale Zeiträume (‘spaces in time’), which unifies new music and architecture, one female and three male composers will discuss at an open platform how their works are created. Text by Erika Weibel

Composition in time and space

The Basel Biennale for new music and architecture hosts a composer panel under the title “creating spaces in time” on 23 September 2017 at 3.00pm. (Photo: Anna Katharina Scheidegger)

From 16 to 24 September 2017, Basel is opening its doors to an exciting listening experience: New music can be heard in the most unusual nooks and crannies of Basel’s alleys. Both young and old are invited to participate in this musical adventure. There is, for example, the indoor swimming pool performance of “Wasserspiel” (Compositions and improvisations for changing line-ups in the indoor swimming...read more

Career 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. Text, photo and video by Manu Leuenberger

On Saturday, 01 April 2017, at the Festival Archipel in Geneva, it was possible to witness the reasons why music can be both career and calling. During the day, an information event took place for young music creators. Based on their wealth of expertise and experience, 12 field experts shared their input in presentations which included many tips on how to enter a career as a musician.

The video impressions only grant a glimpse into the expansive range of topics which were discussed. Further presentations during this first ever “Journée d’orientation professionelle”, the organisation of which was supported by SUISA, were given by: Johannes Knapp – Director of the STV/ASM (Association of Swiss Musicians), Damien Pousset – Founder of the Aeon label, François Passard (Director) und Alain Renaud (Head of the production studio) of L’Abri, Lucas Fagin – composer and co-director of Babelscores, Bruno Serrou – music critic and Marie-Christine Papillon – Director of Papillon publishing.

Career and calling | plus video

Inspiration and profession were also touched upon during the discussions with composers on 01 April 2017 at the Festival Archipel prior to the evening concert in the Alhambra. On the podium, on the far right: Xavier Dayer, President of the SUISA Board.

In the evening prior to the concert in the Alhambra, a public discussion with composers was held. Xavier Dayer, President of the SUISA Board, was also on the podium. The audience at the well attended event found out why copyright remuneration is particularly important for composers who do not receive any concert fees. Due to the copyright remuneration they receive for their work, composers such as Hanspeter Kyburz, William Blank or Tristan Murail can create works like the ones that were performed in the concert just after the discussion by the Lemanic Modern Ensemble.

www.archipel.org, festival website

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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. Text, photo and video by Manu Leuenberger

On Saturday, 01 April 2017, at the Festival Archipel in Geneva, it was possible to witness the reasons why music can be both career and calling. During the day, an information event took place for young music creators. Based on their wealth of expertise and experience, 12 field experts shared their input in presentations which included many tips on how to enter a career as a musician.

The video impressions only grant a glimpse...read more

Archipel Festival: Rendez-vous with contemporary music

Now for the 26th time, the Archipel Festival offers an opportunity for a rendez-vous with contemporary music creation between 24 March and 02 April 2017. For the first time, SUISA will be involved in the Archipel Festival this year. With SUISA’s support, an info day for young music creators will be held on 01 April 2017, as well as a public talk session with composers. More in the interview with festival director Marc Texier which has been carried out in writing. Text/interview by Manu Leuenberger

Archipel Festival: Rendez-vous with contemporary music

“The Archipel Festival has a twofold mission: Its aim is to seek out young artists and present contemporary music in all of its forms”, writes Marc Texier, Director of the Geneva Archipel Festival. (Photo: Festival Archipel / Isabelle Meister)

Marc Texier, the 26th occurrence of the Archipel Festival between 24 March and 02 April 2017 in Geneva will be held under the motto “ensemble”. What’s behind this slogan?
Marc Texier: Under the motto “ensemble”, Archipel 2017 celebrates the important art of joint creation, which would be nice if we could see it transferred to other communities and which is extensively practised by the young musicians’ generation. We would like to offer it a broad concert platform.

What is the greater motivation when it comes to organising a festival: The desire to provide contemporary composers and artists with a shop window or to entice a wider audience for New Music?
The festival has a twofold mission: Its aim is to seek out young artists and to make the transition from university to work life easier. Its intention is also to present contemporary music in all of its forms and to pave the way to New Music for a big audience. The festival follows a dramaturgic script and provides the platform for the sound of living material of an art form which is reinventing itself.

Works of contemporary composers are often doomed to a life in the shadows when it comes to the programmes of traditional concert halls. Why is it that people prefer to perform Bach rather than New Music?
If only it was Bach; but it’s usually rather Tchaikovsky. That’s a question you should ask the representatives of orchestras and concert halls. Where does this strong restraint vis-a-vis contemporary music creation come from? It’s not always dictated by the audience, as they are curious, how I could determine time and again. It’s the structures, orchestras, opera houses, radios which hold on to music which dominated the time of its creation in the 19th and 20th century. What people forget is that the music back then was the most important carrier of modern times. We’re facing a museum-like approach rather than the joy of discovery. Thank God, however, there are exceptions.

Under the auspices of the Académie Archipel Ose! which takes place for the first time and is run by Kaija Saariaho and Daniel Kawka, 6 young composers may take a one-week course in symphonic composition for the first time. What’s the point of an education when there are no more rules and everything is allowed in music nowadays?
Edgar Varèse, one of the ‘fathers’ of New Music, wanted to reduce the rules (grammar) and only follow the (mainly acoustic) laws. Here we are now. There are basically no more rules, just what you need to channel your own imagination. What still applies are the physical laws of sound, its source and how it spreads. There are thousands of techniques to construct a work, to dominate its form, the musical discourse. And finally, computer science also belongs to the pragmatic and necessary instruments of music composition. Once all of that has been acquired, the most substantial factor comes along: to find your own voice, to create something of your own. Colleges, where people of the most diverse backgrounds and varied careers get together, are a help to achieve this: Once the young musicians have learned about the “laws” at the conservatoire, they discover their own “self” when meeting other composers of their generation.

What kind of challenges does a budding Swiss composer master so that his works gain international recognition?
The same as a Frenchman or a Korean woman. Since the wall came down, and many countries have gained access to relative wealth, music creation has been heavily internationalised. The candidates for the Académie Archipel Ose! came from no less than 30 countries on five continents. They are expected to bring along a solid theoretical and practical basic knowledge, imagination and originality, since they travel from academy to academy around the world in order to complete their education and to be able to gain international recognition.

On Saturday, 01 April 2017, a “Journée d’orientation professionnelle” for young composers and artists will be held, co-produced with SUISA. Access to this event in ‘L’Abri’ is free of charge. What does this event have in store for a young music creator?
As newcomers, we have all had the unsettling experience that there is a gap between our career ambitions and professional reality. We cannot change that altogether, but we can help young musician, composers and artists to get to know the environment in which they will be active. This includes administrative, legal, technical and human constraints which they are subjected to when they perform their music for which they were specifically trained. Musical professions – ranging from music critic to publishers of music score and from orchestra musician to creators of sound – have been fundamentally changed as a consequence of the computerisation of music creation, the dematerialisation of carriers, the disappearance of boundaries between the art forms, and the replacement of traditional dissemination channels such as TV, radio and print media by social networks. Experts that have been invited to attend this event will be addressing these issues.

How about yourself: What kind of events from this year’s festival programme are you not going to miss under any circumstance?
I will, of course, attend them all, and can therefore not really answer this question. As a connoisseur of New Music, I would not wish to miss out on the creations of our four most important contemporary composers: Murail, Kyburz, Gervasoni and Blank, in the course of the concert of the Lemanic Modern Ensemble on 01 April. If I wanted to have an introduction to contemporary music unknown to me, and wanted to be able to ask various artists questions in a pleasant atmosphere, I wouldn’t want to miss the afternoon of 2 April to the ‘salons de musique’, which are dedicated to the contrabass clarinet and the drums.

www.archipel.org, festival website

“Journée d’orientation professionnelle”
I am a young composer and at the beginning of my career. Where can I complete my education and training? At which academy? How do I introduce myself? I have founded an ensemble: How do I get it to become well-known, how do I develop and run it? Do I have to register with a collective management organisation? What’s better: paper or ‘dematerialised’ editions? Can I upload my music on the internet for free? Where can I work in an multidisciplinary manner? Where do I distribute my work? These and many more questions are what young artists are asking themselves at the beginning of their careers. We attempt to answer them in the course of meetings with lawyers, publishers, teachers and music producers. The event is under the auspices of SUISA and intended to facilitate the career entry for young musicians. It is open to everyone. (Text: Archipel Festival)
Saturday, 01 April 2017 at the ‘L’Abri – A2’, free admission
10:00-10:10 Welcome speech by Bernard Meier – President of the Archipel Association responsible for the workshops of the music conservatoire HEM
10:10-10:30 Nicolas Pont – Head of SUISA Legal Services
10:30-10:50 David Johnson – responsible for Swissperform’s branch office in the French-speaking part of Switzerland
10:50-11:10 Johannes Knapp – Director of the STV/ASM
11:20-11:40 Damien Pousset – Founder of the Aeon label
11:40-12:00 Andri Hardmeier – Head of the Music Division of Pro Helvetia
12:00-12:20 François Passard (Director) and Alain Renaud (Manager of the production studio) of the ‘L’Abri’
Break
13:30-13:50 Marc Texier – Archipel Director
13:50-14:10 Daniel Zea – Composer and founding member of the Ensemble Vortex
14:10-14:30 Tzairi Santos Garcia – responsible for the digital development at Outhere Music
14:30-14:50 Lucas Fagin – Composer and co-director of Babelscores
15:00-15:20 Bruno Serrou – Music critic
15:20-15:40 Marie-Christine Papillon – Director of Papillon Publishing
15:40-16.00 Conclusion/Debrief
Conversations with composers
With Hanspeter Kyburz, Stefano Gervasoni, William Blank, Tristan Murail, Xavier Dayer. Presented by Marc Texier.

Saturday, 01 April 2017, 20.00 hrs
Alhambra, free admission

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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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Now for the 26th time, the Archipel Festival offers an opportunity for a rendez-vous with contemporary music creation between 24 March and 02 April 2017. For the first time, SUISA will be involved in the Archipel Festival this year. With SUISA’s support, an info day for young music creators will be held on 01 April 2017, as well as a public talk session with composers. More in the interview with festival director Marc Texier which has been carried out in writing. Text/interview by Manu Leuenberger

Archipel Festival: Rendez-vous with contemporary music

“The Archipel Festival has a twofold mission: Its aim is to seek out young artists and present contemporary music in all of its forms”, writes Marc Texier, Director of the Geneva Archipel Festival. (Photo: Festival Archipel / Isabelle Meister)

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SUISA Board meeting: Collections, budget and sponsoring for classical music

Four times each year, SUISA Board members gather in committee and plenary meetings. Some of the agenda items are recurring at a set date each year: In spring, the annual accounts for the past financial year is an important issue. In December, the budget for the following year is set. Additional topics arise from the course of business such as changes to the distribution rules, details on tariff negotiations or the cooperation with other organisations. Report from the Board by Dora Zeller and Manu Leuenberger

SUISA Board meeting: Collections, budget and sponsoring for classical music

Snapshot of a concert with works by Claude Vivier and Karlheinz Stockhausen during the last Archipel festival in Geneva: In 2017, SUISA is going to carry out a sponsoring project together with the festival organisers. (Photo: Raphaëlle Mueller)

Budget control is one of the fixed items on the agenda for the Committee for Finance and Controlling. A review of the figures relating to the current financial year during the October 2016 Board meetings showed a positive trend: As at 31 August 2016, collections were higher than budgeted figures, and expenses stayed within the budget.

The Chairman of the Board Committee in charge expressed his satisfaction at the positive development of the total domestic collections and the fact that they surpassed both the budget and the income from the previous year. Said trend had already emerged in the report on the current financial year presented to the General Assembly in June.

Current financial year satisfactory so far

With regards to broadcasting rights (CHF 44.6m), the new Tariff S (private broadcasters) had a favourable effect. As to performing rights (CHF 33.4m), it was mainly due to Tariff E (cinemas) and CT 3a (background entertainment) that such good results were achieved. Reproduction rights, however, failed to meet expectations (CHF 4.2m), and thus reflected the respective market conditions.

Compensation claims increased (CHF 5.3m) – also due to the blank media levy for smartphones (Tariff CT 4e). While less devices were actually sold, bigger data storage capacities contributed to the increase of collections. The relevant trend in the online sector (CHF 4.6m) also matches the marketplace tendency: Income from streaming usage increased while that from downloads decreased.

However, the year hasn’t come to an end yet. Irregular payment receipts, appeals regarding tariff negotiation processes or market trends are factors that SUISA can hardly influence. Nevertheless, Board Directors and Management are confident that the budgeted numbers will be reached, maybe even exceeded by the end of 2016.

Sponsoring involvement planned for the classical music sector

During the Board Committee for Organisation and Communication, SUISA’s sponsoring involvement for 2017 were discussed. SUISA usually does not participate in many sponsoring opportunities as a rule. SUISA usually pursues a specific purpose when getting involved.

The main intention is to raise awareness for composers’ creations and to anchor cultural and economic values of such creative work into public perception. Furthermore, sharing copyright knowledge and informing the public about SUISA’s activities are primary purposes of sponsoring involvements. In such cases, specific projects are usually chosen where compositions, SUISA and copyright can be used as concrete topics for discussion at events and special occasions.

As such, a new SUISA involvement in sponsoring is planned to be for the classical music sector. The Board of Directors welcomed this initiative. A cooperation project with the Archipel Festival is planned for 2017. The festival for contemporary music creation shall take place between 24 March and 2 April 2017 in Geneva.

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Four times each year, SUISA Board members gather in committee and plenary meetings. Some of the agenda items are recurring at a set date each year: In spring, the annual accounts for the past financial year is an important issue. In December, the budget for the following year is set. Additional topics arise from the course of business such as changes to the distribution rules, details on tariff negotiations or the cooperation with other organisations. Report from the Board by Dora Zeller and Manu Leuenberger

SUISA Board meeting: Collections, budget and sponsoring for classical music

Snapshot of a concert with works by Claude Vivier and Karlheinz Stockhausen during the last Archipel festival in Geneva: In 2017, SUISA is going to carry out a sponsoring project together with the festival organisers. (Photo: Raphaëlle Mueller)

Budget control is one of the fixed items on the...read more