Tag Archives: Composer

Reto Parolari: The passionate and blazing flame shines no more

On Sunday 15 December 2019, Reto Parolari, composer, conductor, arranger and multi-instrumentalist from Winterthur passed away, completely unexpectedly, aged 67. Reto Parolari had been a Board member of SUISA since 2007. Before then, he had been participating in the Distribution and Works Committee which he had been presiding over from 1997 onwards. Obituary by Xavier Dayer, SUISA President, and Urs Schnell, Director of FONDATION SUISA

Reto Parolari shown in a picture at the SUISA General Meeting in 2014 in Berne. (Photo: Juerg Isler, isler-fotografie.ch)

A few days ago, the very sad news of Reto Parolari’s passing away reached us; SUISA‘s Board is in shock. Until a week ago, Reto had been chairing the “Tariffs and Distribution” Committee and took part in our Board meetings with the immense human generosity which was so characteristic for him. Nobody could have even imagined that he would leave us so suddenly. I remember our intensive and cordial discussions at the Board dinner.

I would like to highlight his valuable input into the SUISA Board with a few lines: As a composer and a musician he contributed with an important view. He was always constructive and an indispensable partner.

We had known each other since 2007 when he joined our Board as Chairman of the Distribution and Works Committee. He is thus an important person in the life of the Board that left us on Sunday – irreplaceable, and we regret his passing very much.

In order to visualise his music and his artistic development, it seems best to let Urs Schnell, Director of our foundation, to say a few words. It was only recently that he held an outstanding laudatio on the occasion of the Culture Award of the city of Winterthur on 3 December. The speech of Urs Schnell, which we are going to reproduce in the following will have a particularly moving dimension to it.

In the name of the SUISA Board I would like to express our deepest condolences to the family of Reto Parolari in this rather sorrowful time.

Xavier Dayer

Laudatio on the occasion of the Culture Award to Reto Parolari in the Winterthur Theatre on 3 December 2019

Dear Reto

For me, tonight, a circle is complete: it was on the stage of this very house that I had my first encounter with you, Reto – that’s going back to 1990 or thereabouts. As a student for a teaching diploma at the then music conservatory here in Winterthur, I had to join in singing at the annual Konsi [conservatory] choir concert. A joint concert with your orchestra was scheduled. The programme read: “Sophisticated entertainment music”

This starting point was, maybe you can try to imagine this, ladies and gentlemen – well, not quite simple. For the music students which had been conditioned towards the sublime classical music, it was initially completely far-fetched having to even deal with such kind of repertoire. The project met with a lot of scepticism. “Entertainment music”…. Possibly even with a ternary swing element…. Excerpts from “My Fair Lady” and such like… Well, the then choir conductor and Konsi director, Fritz Näff, whom I hold in high regard, was facing a real challenge.

But, the closer the concert was, the clearer it became: Entertainment music is not, per se, “light” or “casual” music which you could be casual about. There are some tough musical nuts that need cracking.

At the end of the day it was you, Reto, who managed to make the whole thing take off: Thanks to your enthusiasm, your zeal, your humour – and yes, a natural authority which only artists hold in themselves, when they are well above anything material, a jolt went through all of the students gathered there. Resistance melted away, and people made music together.

Something I had the privilege of taking home with me as a life wisdom from you that evening: In order to really captivate your audience you need respect vis-à-vis your co-musicians, the profound knowledge of what you actually do, a deep reverence for music, but above all your own enthusiasm, a passionate, blazing fire – the feu sacrée.

With this small step back in history, I would like to welcome you to this Culture Award ceremony for Reto Parolari.

It is a huge honour and joy that I may speak to you today. And I thank you, Reto, that you asked for me to do so….

You, the Parolari family, are probably the one family in Winterthur with the most comprehensive Culture Award collection. Your father, the oboist Egon Parolari, had already received the award exactly 30 years ago – which also is a sign of the continuity of the culture policy of Winterthur.

Since you were a kid, you were active in Winterthur. You once said: “I have literally grown up on the stage floor of the town hall. My father took me along to rehearsals and concerts that often.”

At the age of 24, you completed your studies as a qualified musician with the main subject drums, further studies followed in Hanover, Stuttgart and Vienna.

Voilà – and from now on, ladies and gentlemen, it will be difficult, because the biggest challenge, if you wish to approach Reto’s works and their impact, is simply the unbelievable diversity of his creations.

It is not an easy task for the poor person holding the laudatio, to summarise your curriculum, Reto: it is characterised by concurrent and contrary, complementing and parallel events. But and that makes the task a bit simpler for the not quite so poor person holding the laudatio: it is all held together by a fiery passion for music, the feu sacrée – and it is exactly because of the rough edges that it is a curriculum which is logical per se.

You are an artist – but also a shrewd entrepreneur. You are a composer and an arranger, you are author and editor of specialist literature, conductor and instrumentalist.

Multi-instrumentalist: Marimba, continental typewriter, drums, piano and you are even a virtuoso of car horns. Your main instrument, however, is you. Your authenticity, your belief in your mission, your warmth and humour, your stubborness and unconditionality, in other words, your feu sacrée.

It is impossible to talk about you without implying “sophisticated entertainment music”.

But, hold on a minute… what is that?? What distinguishes a Parolari from other musicians, what is, in marketing speak: Your unique selling point?

Let me quote Cédric Dumont, the founder of the Radio Orchestra of Radio Beromünster and the Director of the radio studio Zurich: “The original sin in music happened when people began to distinguish between E and U, between serious and entertainment music…. But even for U you need stamina, craftsmanship and enthusiasm.” Voilà, the feu sacrée.

You are burning for a music genre which clearly has not got an “easy life”. A genre which, if it is even perceived as such, often only attracts a smug smile…

But where does it come from, that representatives from the so-called “serious” category turn up their noses?

The demands are high, probably higher than some others, presumed serious music genres: In order to reach the full effect of entertainment music, the score must be transposed exactly, the music MUST be taken seriously, but – careful: Contradiction here – it always has to be played with a wink.

But – by implication: May I not feel “entertained” by a Beethoven symphony, a Bach concert? And if I was to feel “entertained” after all: does this mean somebody made a mistake??

I leave this for you to ponder…

Your art is closely connected with the history of Swiss radio. Until the seventies, each radio station had its own contractual orchestra, which accompanied the spoken broadcasts live with specially composed repertoire. In order to create the desired mood effects with the listener, music had to be composed in various, colourful and pictorial ways, and be implemented perfectly in terms of the skills applied. What makes me put forward this thesis is: sophisticated entertainment music is film music – a film music which needs to create its own images – and that is musical storytelling at its best.

With the massive distortions of the media landscape at the beginning of the seventies, the marriage of the radio orchestras was over – one ensemble after the other was dissolved – the repertoire was no longer requested, musicians with the highest qualifications were laid off, the music archives were under threat to end up in the waste paper collection….

That is when Reto was at the right place at the right time:

You literally saved the music scores of the radio studio Basel, the Bayerische Rundfunk and later those of the radio orchestra Beromünster from the shredder.

And that is how your biggest achievement, in material terms, is growing more or less in secret, nearly literally beneath our feet….

In a huge air raid bunker in the middle of Winterthur, you have become the guardian of a huge music score collection of more than 110,000 titles.

This biggest music archive in Europe is not just a mausoleum of creative moments, no, you mediate access for numerous international orchestras which use the music actively.

Your merit for a continuation of sound and paper of this musically historic unique legacy, the keeping alive of cultural goods cannot be commended highly enough. I would like to thank the city of Winterthur at this point that it acknowledges this unique commitment and also pays the respect it has deserved to this kind of music with its award.

And of course it is not possible to talk about you without mentioning your own orchestras.

The first orchestra you founded was during your studies at this music conservatory.

The “ORP” was created with a symphonic line-up, which has been exclusively made up of 40 professional musicians since 1990. Such an orchestra – something I have to mention as an aside – is actually an entrepreneurial nonsense. It can never break even – but still: You never had to report it to the bankruptcy office.

You conducted more than 40 orchestras from all over the world, among which there were exotic ones such as the State Hermitage Orchestra St Petersburg (Russia), the Airport Orchestra Zurich (Switzerland) or the Philharmonic Orchestra Pyongyang (North Korea).

You never applied for any of these engagements – you were always contacted by them.

The same applies – for the world of circus: at the tender age of 28, you were offered the conductor’s position at Circus Nock, shortly after the same position at the Circus Knie. For your creative engagement at the Carré Theatre in Amsterdam, the Queen of the Netherlands even awarded you the title “Royal Bandmaster”. And, you also found yourself shoulder to shoulder with aristocrats and other crown-wearing royalty as Head Conductor of Music at the International Circus Festival in Monaco.

It was only at home where there was less glamour for you: with your own international festival of sophisticated entertainment music, you may well have launched a unique music event with international reach – but the public at home did not take quite as much notice of it…

I would also need to mention your work as a composer and arranger, spanning more than 800 works, in more detail, and you also deserve to be honoured as the author of expert articles and several specialist books – but, alas, time flies…

Something is, however, important to me: You are not only standing up for yourself, Reto: as a Board member of the collective management organisation SUISA, or as an active member of the local Rotary Club Winterthur -Mörsburg, you are also committed to the service for people around you.

As mentioned at the outset: a curriculum with rough edges – because all of the facets of your activities, whether as a musician, conductor, orchestra leader, entrepreneur, event organiser, publisher, archivist, composer, they complement, require and need each other and result in the overall picture of someone who creates art and culture. – a logical curriculum, a curriculum that follows through.

It was only recently that I was allowed to perform once more under your direction: if only in one musical piece, but this time as a trained flautist. And within seconds, it was there again: that feeling that you can convey so well: the respectful “this will be good, trust me”. Easy going when it comes to your appearance, but serious when it comes to the matter at hand. And indeed: You counted the intro, the big band started to swing, my part…. Your feu sacrée was blazing and all was superb – and yes all went well!

Merci, Reto, for all of that!!

Urs Schnell

The memorial service will take place on Monday, 30 December 2019, at 3 pm in the Stadtkirche in Winterthur.

Collapse article
  1. Markus Niffenegger says:

    Lieber Reto
    Die Nachricht von deinem unerwarteten Abschied vom irdischen Leben hat mich zu tiefst schockiert, denn du warst mir stets ein guter Freund und ein grosses Vorbild. Die Zeit, in welcher ich vor über 40 Jahren als junger Amateurtrompeter in deinem Orchester mitmusizieren durfte, ist mir bis heute als meine beste musikalische Erfahrung in guter Erinnerung geblieben. Mit dir haben wir einen grossen Musiker und überaus edlen Menschen verloren.
    Vielen Dank für alles, ruhe in Frieden!
    Markus

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.

On Sunday 15 December 2019, Reto Parolari, composer, conductor, arranger and multi-instrumentalist from Winterthur passed away, completely unexpectedly, aged 67. Reto Parolari had been a Board member of SUISA since 2007. Before then, he had been participating in the Distribution and Works Committee which he had been presiding over from 1997 onwards. Obituary by Xavier Dayer, SUISA President, and Urs Schnell, Director of FONDATION SUISA

Reto Parolari shown in a picture at the SUISA General Meeting in 2014 in Berne. (Photo: Juerg Isler, isler-fotografie.ch)

A few days ago, the very sad news of Reto Parolari’s passing away reached us; SUISA‘s Board is in shock. Until a week ago, Reto had been chairing the “Tariffs and Distribution” Committee and took part in our Board meetings with the immense human generosity which was so characteristic...read more

Finding her own universe

Cécile Marti is one of the most outstanding protagonists of contemporary music in Switzerland. In her work, the composer and sculptor tries to combine different forms of expression to make an impressive separate entity. In the near future, hopefully ballet will also be added to the dialogue between sound and sculpture. FONDATION SUISA is supporting the artistic vision of this Zurich resident with a Carte Blanche grant of 80,000 Swiss francs. Text by guest author Rudolf Amstutz

Cécile Marti: Finding her own universe

Carte Blanche for Cécile Marti. (Photo: Suzie Maeder)

Under normal circumstances, it is true to say that people should separate the work of art from its creator. In Cécile Marti’s case, this is hardly possible, because one single day in her life not only compelled her to bury her great dream, but ultimately, after a long period of heartache, took her down the path leading to artistic success today.

The uncompromisingness with which the now 45-year old from Zurich follows her artistic vision, was also quite distinct as a young girl: “From a very early age, I knew I wanted to be a violinist. A violinist and nothing else.” She started playing the violin at eight years of age, closely followed by the piano. One thing became clear when she heard violinist Bettina Boller at a concert: “I wanted to have lessons from her.” Faith can move mountains, so the young Cécile became the only one receiving private tuition.“This period was like some kind of musical earthquake for me”, raves Marti. “Bettina Boller brought me closer to new music. When I was 12, I heard Alfred Schnittke, after which it definitely became clear to me: I had to go to the conservatory and the violin would become my sole focus in life.”

It’s all over

Marti lowers her eyes for a few seconds, before carrying on with her story: “At 17, I started teaching myself and at 18, the conservatory and orchestral projects from Mahler to Bruckner followed. It was splendid. Then I hit 20 and disaster struck!” Marti suffered a stroke and became paralysed down one side of her body. Overnight: it was all over. “I refused to accept it and tried every conceivable therapy over a period of three years. I fought it until I had run out of strength.”

Marti banished the violin to the loft and would not listen to music for five years. “The wound was far too great.” During this period, as she puts it herself, she felt like she was “lost in the desert”. Until one particular moment when her subconscious started talking to her. “I suddenly heard music inside me. And I then began to write it out. That was the start of my career as a composer.”

She began her studies in composition with Dieter Ammann and for the first time encountered the concept of responses to the passage of time. Meeting the Austrian composer Georg Friedrich Haas during her studies suddenly opened up a new dimension to her when it came to developing her own work. In contrast to Amman, Haas practised a method for dealing with the passage of time that was previously unknown to Marti. “It allows an undetermined amount of time for an idea, until the point at which it is fully exhausted. And then this idea slowly attaches itself to another one. This slow way of handling things fascinated me. And from it come a completely different way of hearing things and sense of time.”

Sculptural hearing

With hindsight, it is certainly no accident that Marti felt herself captivated by the possibilities offered by the most varied of responses to the passage of time. And it is most likely not by chance that she started her work as a sculptor at the same time that she started composing music. The period of her life precipitously interrupted by the stroke, which ultimately led to something new, and the natural stone, which was transformed into a perfect sculpture thanks to lots of strength, perseverance and willpower, undeniably link the dialectics between biography and artistic debate.

It also explains the path taken by Marti, which is quite different to the notion of a traditional career. “Under normal circumstances, you are commissioned by someone to compose a piece. I predominantly followed by own ideas”, she declares affirmatively. Right from the beginning, her doctorate supervisor in London expressed concern about her composition plans (Marti obtained her PhD with a thesis on musical responses to the passage of time). “He said: ‘What you have written is like a shot in the dark’”, she explains smiling.“‘You’ll probably not find an orchestra willing to play it.’” He was referring to the orchestral cycle “Seven Towers” in 7 parts, for 120 musicians and lasting 80 minutes which SOBS (the Symphony Orchestra of Biel & Solothurn) premièred in 2016 in Biel/Bienne and since its genesis has also been played by the Bern Symphony Orchestra, Geneva Camerata and the Basel Sinfonietta.

In this breathtaking (in its truest sense) work, the orchestra as a whole reminds you of a sculpture which can be experienced in many different ways. “People say to me that when they listen to my music, they feel sculptural and in fact I think it is very gestural and formative. I am fond of the idea that people can view things from the most varied perspectives and that there actually exists an interaction between my sculpture work and my compositions.”

“The greatest gift”

Cécile Marti wants to expand this interaction with a new project, namely a ballet. The idea came to her three years ago when she saw the choreography of the Canadian, Crystal Pite, in a London theatre. “It was like a lightning strike for me”, enthuses Marti. “Up to that point in time, I had never seen a dance performance where I immediately had the feeling that I wanted to cooperate with this choreographer.” According to Marti, Pite does with dance exactly what she does with music. “She also works in a sculptural manner and with the aid of large groups. She then forms this mass in all conceivable directions.”

The fact that Pite was keen on the project, but as the shooting star of the dance scene is fully booked up until 2026, has not put Marti off following up the idea. During her music-free period, she filled dozens of diaries, which are not only the legacy of a gloomy time, but which also describe the start of a new life. This writing should form the basis for a dramatic autobiographical ballet, the likes of which the world has never seen before.

Whether or not, in the case of the ballet, the first part of which had been premièred in concert in Warsaw in September 2019, or the second string quartet, which premièred in the same month and the title of which was “Sculpted in stone”, already point to the presence of 26 stone sculptures, the manifestation of the passage of time stands centre stage of Marti’s work, which is both creative and exploratory. Consequently, she is continuing working on the “Seven Towers” concept to make this also physically experienceable in sculptural form in future.

The Carte Blanche award from FONDATION SUISA will now make it possible for her to further develop this objective without any pressure. “Quite simply, Carte Blanche funding is the best gift you can ever imagine”, she enthuses. “I pursue ideas with my heart, even though they might actually look unpopular on paper. However, my work has to be precise in terms of content and as authentic as possible. And as a result, time pressure is of no consequence where I am concerned.”

The great misfortune, which struck Marti at just 20 years of age, must have felt like a black hole into which all matter disappeared. Far more impressive is the “big bang” which took place after years of darkness, and out of which she created a completely new, unique universe which had not by a long shot been researched in every nook and cranny.

www.cecilemarti.ch

FONDATION SUISA started awarding new grants in 2018. “Carte Blanche” funding of 80,000 Swiss francs, which is not announced, but awarded once every two years directly by a panel of experts, is aimed at enabling music makers to concentrate on their further artistic development without any financial pressure.

Related articles
Michael Künstle: “Orchestral spaces” or if music becomes spatially tangible when you listen to it“Orchestral spaces” or if music becomes spatially tangible when you listen to it In his work, composer Michael Künstle deals with the interplay between tonal dramatisation and dramatic tones. The 27-year-old Basel resident would now like to take the next step forward in his research by making the sound of an orchestra a spatial experience for the listener. FONDATION SUISA is supporting this project financially with Get Going! funding. Read more
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
Jazz in Bess: Creating music in the era of contaminationCreating music in the era of contamination A discussion on the deceptively simple theme of ‘contamination in music’ provided much food for thought, reaffirming the desire to talk about music and ideas, to try to understand one another better and more profoundly. 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.

Cécile Marti is one of the most outstanding protagonists of contemporary music in Switzerland. In her work, the composer and sculptor tries to combine different forms of expression to make an impressive separate entity. In the near future, hopefully ballet will also be added to the dialogue between sound and sculpture. FONDATION SUISA is supporting the artistic vision of this Zurich resident with a Carte Blanche grant of 80,000 Swiss francs. Text by guest author Rudolf Amstutz

Cécile Marti: Finding her own universe

Carte Blanche for Cécile Marti. (Photo: Suzie Maeder)

Under normal circumstances, it is true to say that people should separate the work of art from its creator. In Cécile Marti’s case, this is hardly possible, because one single day in her life not only compelled her to bury her great dream, but ultimately, after a long...read more

Where there is no love, everything is in vain

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

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

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

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

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

Sound and word artist

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

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

Sensual sound language

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

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

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

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

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.

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

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

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

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

Intriguing insights and concerts at the Zeiträume Festival

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

Intriguing insights and concerts at the Zeiträume Festival

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

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

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

SUISA Talks at the Zeiträume Festival 2019

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

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

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

Festival Pavilion

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

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

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

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

www.zeitraeumebasel.com

Related articles
Arranging works protected by copyrightArranging works protected by copyright Musical works in the public domain can be arranged at will. But works which are still protected by copyright, i.e. whose author has been dead for less than 70 years, cannot be arranged without permission from the rightholders. How does one go about obtaining such permission, and what points must be regulated in the permission in order to be able to register an arrangement with SUISA? 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
Beat Gysin: Travelling with and inside a spaceTravelling with and inside a space Place, time and space play a pivotal role in the works of composer, Beat Gysin. In his six-part “Lightweight building series”, he designs spaces specially for the music, enabling him to confront his audience with shifting tonal and spatial experiences. The second part of his elaborate project is due to be brought to fruition from 2021. FONDATION SUISA is supporting this project financially with Get Going! funding. 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.

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

Intriguing insights and concerts at the Zeiträume Festival

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

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

Travelling with and inside a space

Place, time and space play a pivotal role in the works of composer, Beat Gysin. In his six-part “Lightweight building series”, he designs spaces specially for the music, enabling him to confront his audience with shifting tonal and spatial experiences. The second part of his elaborate project is due to be brought to fruition from 2021. FONDATION SUISA is supporting this project financially with Get Going! funding. Text by guest author Rudolf Amstutz

Beat Gysin: Travelling with and inside a space

The Basel composer Beat Gysin in a photo taken in 2010. (Photo: Anna Katharina Scheidegger)

Chemistry and music: do they go together? What initially appears to be a contradiction in terms makes complete sense in Beat Gysin’s biography. Although he grew up in a family of musicians, Gysin took the decision to study chemistry as well as composition and music theory. The scientific approach and empirical evaluation of an experimental approach are just as important to him as the musical element. “I never wanted to be famous because of my music. I always wanted to find answers with my music and within it”, explains the 50-year-old Basel resident.

His catalogue of works is impressive. Even more impressive, however, is the way in which he brings his compositions to the performance stage. Gysin moves systematically beyond duplication and sound recording. Place, time and above all space are obligatory elements in his performance technique. In this respect, Gysin is far more than “just” a composer and musician. If you are to ultimately understand the Gysin Universe, you must firstly apply such definitions as researcher, architect, facilitator and philosopher.

“I am actually a philosopher at heart”, he adds. “It’s a matter of awareness, and I notice that the space in which music is performed has lost importance in its overall perception. Nowadays, people regard the music as being detached from its performance”, he adds and in so doing refers to a key point in his work: the systematic interplay between space and sound. “If you take one of my pieces out of the space, then this is almost as if you were creating a piano solo from an orchestral work. You know the notes, but do not hear the orchestra.”

With remarkable consistency, meticulousness and a passion for experimentation, in his many projects Gysin again and again plumbs the depths of the complex interplay between space, sound and the resulting perception of his music. The performance space becomes part of the artwork, which ultimately not only offers the audience a completely new sensory experience, but Gysin also repeatedly delivers new perceptions, in order to subsequently create yet another new approach to his next project. “I want to find things. And invent”, is how he describes what drives him artistically in an almost laconic manner. In this respect, he does not necessarily take centre-stage as the composer, but often “only” as the conceptual leader. In order to encourage an exchange of ideas, he set up the Basel studio-klangraum recording space and founded the ZeitRäume Basel festival.

“If you take one of my pieces out of the space, then this is almost as if you were creating a piano solo from an orchestral work. You know the notes, but do not hear the orchestra.”

Whether in churches with their varying acoustic properties, in empty waterworks with an echo lasting anything up to 30 seconds or in decommissioned mines where almost perfect silence prevails: Gysin keeps on discovering new spaces that can be mapped acoustically. And anywhere there is no natural space available allowing him to move forward, they are architecturally designed. The six-part “Lightweight building series” is not only one of Gysin’s key works because of the expenditure involved. It also represents the next logical step for him: creating spaces that can be transported. Here we are dealing with six abstract space designs, implemented as pieces of architecture in the form of pavilions, which provide unusual listening situations and therefore facilitate a new kind of awareness of the music. “Chronos” comprised a revolving stage like a carousel and in the case of “Gitter” the musicians were arranged “spherically” around the audience. Where “Haus” is concerned, sound space walks around existing houses were made possible and in “Rohre” (Pipes), which will take place shortly (world premiere in September 2019 in the inner courtyard of the Kunstmuseum Basel (Basel Museum of Art) as part of the ZeitRäume Basel festival), the audience and musicians meet each other in the literal sense of the word, in other words in pipes you can walk inside.

“In the concluding two parts from 2023”, Gysin comments, “I would like to investigate the question of mobile set-ups and their influence on hearing. In the case of one of the projects, the musicians and audience sit on little trolleys that never stop moving. Everything remains on the move and the space is constantly redefined. And as regards the last part, it is a question of a suspended space which implodes again and again like a balloon, but can then be re-inflated.” Such elaborate projects are not easy for an artist to finance. “We are dependent on support right from the initial conception, and that costs money”, he states in full awareness, adding: “the Get Going! grant from FONDATION SUISA is the perfect answer to this challenge. It is a kind of way of financing feasibility studies. Up to now this has not existed in this form.”

In times where culture has to be “eventised”, in that marketing experts pay more attention to form than content, the “Lightweight building series” also symbolises a kind of artistic counter-movement. “The advantage is that I, as the artist, conceive the event as a whole”, says Gysin, also commenting: “As a musician, today you are obliged in a world of sensory overload to deal with the location of the music, because it can no longer be understood if taken out of context.”

www.beatgysin.ch

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

Related articles
FONDATION SUISA: “Get Going!” goes into its second round: “We definitely have our fingers on the pulse of our age”“Get Going!” goes into its second round: “We definitely have our fingers on the pulse of our age” Last year, FONDATION SUISA awarded four innovation grants under the title “Get Going!” for the first time in order to promote groundbreaking creative concepts outside the usual boxes. The positive reactions that were received were overwhelming. At the end of June 2019, the call for contributions enters its second round. Read more
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
Bertrand Denzler: Sound space surveyor and ambient sound explorerSound space surveyor and ambient sound explorer Saxophonist Bertrand Denzler is always working on new opportunities to express himself in the delicate balance that lies between improvisation and composition. The 55-year-old musician from Geneva, who is now resident in Paris, now intends to extend the frontiers of his artistic dialogue with others even further using “roaming residencies”. FONDATION SUISA is supporting this project financially with Get Going! funding. 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.

Place, time and space play a pivotal role in the works of composer, Beat Gysin. In his six-part “Lightweight building series”, he designs spaces specially for the music, enabling him to confront his audience with shifting tonal and spatial experiences. The second part of his elaborate project is due to be brought to fruition from 2021. FONDATION SUISA is supporting this project financially with Get Going! funding. Text by guest author Rudolf Amstutz

Beat Gysin: Travelling with and inside a space

The Basel composer Beat Gysin in a photo taken in 2010. (Photo: Anna Katharina Scheidegger)

Chemistry and music: do they go together? What initially appears to be a contradiction in terms makes complete sense in Beat Gysin’s biography. Although he grew up in a family of musicians, Gysin took the decision to study chemistry as well as composition and music...read more

“Orchestral spaces” or if music becomes spatially tangible when you listen to it

In his work, composer Michael Künstle deals with the interplay between tonal dramatisation and dramatic tones. The 27-year-old Basel resident would now like to take the next step forward in his research by making the sound of an orchestra a spatial experience for the listener. FONDATION SUISA is supporting this project financially with Get Going! funding. Text by guest author Rudolf Amstutz

Michael Kuenstle: “Orchestral spaces” or if music becomes spatially tangible when you listen to it

The composer Michael Künstle (left) from Basel at work in the recording studio. (Photo: Oliver Hochstrasser)

Michael Künstle was completely surprised to win the International Film Music Competition in the 2012 Zurich Film Festival when he was just 21. “At that time, I had just begun my studies”, he comments today, adding, “I am only just starting to understand the significance of this prize now. It was a kind of springboard, also because it has always been an award for competence that nobody can take away from you”.

In the competition, Künstle was up against 144 fellow composers from 27 countries who were all set exactly the same task: composing the score for the short animated film “Evermore” by Philip Hofmänner. Anyone watching the film today can imagine what might have impressed the jury back then: Künstle came up with amazingly subtle sounds, which enhanced the story of the film.

“The fantastic thing about film music is that it is the result of a close exchange with others. A film represents an interplay between countless people and it is vital to take all aspects into consideration: camera work, use of colour and setting”, is the way Künstle explains his fascination with the genre. “The biggest challenge in a film is to say something with the music which has not yet been said in words or pictures, but which is essential for telling the story right up to the end.”

Whether it is in Gabriel Baur’s “Glow”, “Sohn meines Vaters” by Jeshua Dreyfus or “Cadavre Exquis” by Viola von Scarpatetti: the list of films for which Künstle is responsible for the soundtrack keeps on getting longer. The enthusiasm with which Künstle expresses his specialist know-how and thirst for knowledge in conversation is contagious. Also if he is talking about the greats in this field: Bernard Hermann’s knowledge of composition, for instance, or the unique capability of John Williams, “whose works clearly sound like orchestral pieces when listened to without the film, even though they suit the film for which they were written perfectly. This is incredibly difficult to accomplish, because symphonic music traditionally allows closer narrative structures than a film”.

“In contemporary music, the space is often just as important as other compositional elements, such as the subject matter or rhythm, but this essential aspect is often lost in the recording.”

Although he differentiates between concert music and film scores in his own work, he admits “that you can never fully give up one if you do the other”. Elements that he developed in collaboration with director Gabriel Baur for the film “Glow” found their way into the piece “Résonance”, performed by Trio Eclipse in 2016. “But in my concert music, it is mainly a question of compositional forms and structural ideas that cannot be expressed in the film.”

The idea for the project, that FONDATION SUISA is now going to jointly finance with a Get Going! grant, ultimately arose from another important aspect of Künstle’s creativity. Künstle follows, as he emphasises, a philosophy of the “real” which is as close as possible to an actual recital, thanks to the most up-to-date recording techniques. In collaboration with his working partner, Daniel Dettwiler, who owns the “Idee und Klang” (Idea and Sound) studio in Basel, and who, for years, has been researching new recording techniques, Künstle would like to create a spatial composition that can be listened to in a way that had not existed before.

“In contemporary music, the space is often just as important as other compositional elements, such as the subject matter or rhythm, but this essential aspect is often lost in the recording”, is the way he explains the starting point. “I want to reach a point where people listening on headphones hear the three-dimensional space occupied by the orchestra during recording, as if they could literally ‘feel’ the music.” For many years, this research and in a specific way also the conquest of these “orchestral spaces”, was just an idea for Künstle, because, as he stresses, “You can only make this happen in a studio with the best possible sound and the best microphones available”.

Thanks to Get Going!, the next step in this audiophile revolution can now become a reality and in no-less than London’s legendary Abbey Road Studios with an 80-piece orchestra. Therefore, Künstle will compose a piece in which the space where the recording takes place will play a central role. “I want to turn the composition process on its head”, is how he underscores the objective of his project. “Just like film music”, he adds. Again here, first and foremost you start with what you hear. Therefore completing the circle.

www.michaelkuenstle.ch

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

Related articles
“Get Going!” goes into its second round: “We definitely have our fingers on the pulse of our age”“Get Going!” goes into its second round: “We definitely have our fingers on the pulse of our age” Last year, FONDATION SUISA awarded four innovation grants under the title “Get Going!” for the first time in order to promote groundbreaking creative concepts outside the usual boxes. The positive reactions that were received were overwhelming. At the end of June 2019, the call for contributions enters its second round. Read more
“Swiss Film Music features great diversity and high quality”“Swiss Film Music features great diversity and high quality” The box-set “Swiss Film Music”, containing three CDs, one DVD and a book, released by FONDATION SUISA, provides fascinating insights into the history of Swiss film music between 1923 and 2012. A conversation with the musicologist and media scientist Mathias Spohr who acted as artistic director for the project. Read more
Arranging works protected by copyrightArranging works protected by copyright Musical works in the public domain can be arranged at will. But works which are still protected by copyright, i.e. whose author has been dead for less than 70 years, cannot be arranged without permission from the rightholders. How does one go about obtaining such permission, and what points must be regulated in the permission in order to be able to register an arrangement with SUISA? 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.

In his work, composer Michael Künstle deals with the interplay between tonal dramatisation and dramatic tones. The 27-year-old Basel resident would now like to take the next step forward in his research by making the sound of an orchestra a spatial experience for the listener. FONDATION SUISA is supporting this project financially with Get Going! funding. Text by guest author Rudolf Amstutz

Michael Kuenstle: “Orchestral spaces” or if music becomes spatially tangible when you listen to it

The composer Michael Künstle (left) from Basel at work in the recording studio. (Photo: Oliver Hochstrasser)

Michael Künstle was completely surprised to win the International Film Music Competition in the 2012 Zurich Film Festival when he was just 21. “At that time, I had just begun my studies”, he comments today, adding, “I am only just starting to understand the significance of this prize now. It was a kind of springboard,...read more

Sound space surveyor and ambient sound explorer

Saxophonist Bertrand Denzler is always working on new opportunities to express himself in the delicate balance that lies between improvisation and composition. The 55-year-old musician from Geneva, who is now resident in Paris, now intends to extend the frontiers of his artistic dialogue with others even further using “roaming residencies”. FONDATION SUISA is supporting this project financially with Get Going! funding. Text by guest author Rudolf Amstutz

Bertrand Denzler: Sound space surveyor and ambient sound explorer

Bertrand Denzler (Photo: Dmitry Shubin)

“Tireless”, “adaptable” and “industrious” are just three words that could be used to characterise the artistic craft of Bertrand Denzler. Anyone checking out his website for the first time could be forgiven for thinking the sheer number of projects and line-ups might be their kiss-of-death. Denzler laughs: “I’ve laid the whole thing out somewhat more clearly in the meantime.” In fact: on second glance, it all makes sense. And anyone taking the next step of dipping into the sounds available online will hardly be able to resist Denzler’s artistic vision. At first, the finely balanced sound sculptures seem to reveal a welcoming kind of simplicity. But in the background lurks a complexity with a tremendous pulling effect that is almost hypnotic.

“My compositions are not primarily about the narrative form, but the inner structure. This means my pieces might seem relatively simple, but they are not easy to play. The musician should not be distracted by far too many ideas, but should be able to concentrate fully on the sound and its precision,” is the way Denzler explains his intentions.

He classifies his process-orientated compositions as “spaces”. For the most part, they do not feature traditional notation, but are predetermined by their structure. “I want musicians to be involved and have to think for themselves”, stresses Denzler. He adds: “Often it is just the time structure that is specified, and not the rhythmic structure. The predetermined rules always open up lots of opportunities.”

Denzler practises this “space surveying” with the simultaneous exploration of the ambient sound with very different line-ups, including the Sowari Trio, Hubbub, Denzler-Gerbal-Dörner, The Seen, Onceim and Denzler-Grip-Johansson. At the same time, he is not averse to trying new things, including improvising as a guest musician in such line-ups as Jonas Kocher’s international Šalter Ensemble, in a duo with Hans Koch or quite simply solo.

Denzler actually considers his career to be somewhat typical of a European musician of his generation. He started out with classical music, but at the same time was listening to pop and rock in private. However, an outright thirst for knowledge also made him aware relatively quickly of the most varied ways in this world that music can be played. “And eventually”, comments Denzler, “jazz became my main sphere of activity, because improvisation, in other words implementing your thoughts in real time, fascinated me”.

After jazz came free-form music, even if Denzler is still to this day impressed by the philosophy and improvisational approach of such greats as Albert Ayler and John Coltrane and will probably continue to be influenced by them. As opposed to many improvisers who never return (if they have occasionally diverted from a compositional approach), Denzler has found a space where he can keep creating new things architecturally from the delicate balance between improvisation and composition. “In the last ten years, I acquired the feeling that I am always improvising in the same system. Suddenly, I once gain felt compelled to build structures within my music.”

Denzler’s artistic vision is not only a kind of journey of discovery in a metaphorical sense: he wants to transport this “space” to different geographical locations as a “roaming residency”, so as to meet other musicians there and create new music with them. Up to now, the project has failed, not only for financial reasons, but also because such an open project does not comply with the general conditions of traditional subsidies policies. Start-up funding from a FONDATION SUISA Get Going! grant is now making realisation possible, because, according to Denzler, “… it allows me to pursue my creativity instead of predefined conditions”. Beaming with delight, he adds that it’s as if this grant had been specially tailored for him. And in fact his definition almost reminds you of a Denzler composition, in which the structures defined by the creator open up unforeseen possibilities …

www.bertranddenzler.com

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

Related articles
FONDATION SUISA: “Get Going” contributions and “Carte Blanche” awarded for the first time“Get Going” contributions and “Carte Blanche” awarded for the first time As part of its new funding policy, FONDATION SUISA made four “Get Going!” and one “Carte Blanche” grants for the first time. A “Get Going!” start-up funding of CHF 25,000 each is allocated to Beat Gysin, Bertrand Denzler, Michael Künstle and the Duo Eclecta. The “Carte Blanche” amounting to CHF 80,000 is bestowed to Cécile Marti. Read more
New support strategy: “We want to look ahead”New support strategy: “We want to look ahead” FONDATION SUISA reinforces its activities regarding the support of music in Switzerland and the Principality of Liechtenstein: Each year, four music projects shall be launched under the motto “Get Going!”, and every other year, a bigger amount shall be allocated to works under the slogan “Carte Blanche”. Read more
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
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.

Saxophonist Bertrand Denzler is always working on new opportunities to express himself in the delicate balance that lies between improvisation and composition. The 55-year-old musician from Geneva, who is now resident in Paris, now intends to extend the frontiers of his artistic dialogue with others even further using “roaming residencies”. FONDATION SUISA is supporting this project financially with Get Going! funding. Text by guest author Rudolf Amstutz

Bertrand Denzler: Sound space surveyor and ambient sound explorer

Bertrand Denzler (Photo: Dmitry Shubin)

“Tireless”, “adaptable” and “industrious” are just three words that could be used to characterise the artistic craft of Bertrand Denzler. Anyone checking out his website for the first time could be forgiven for thinking the sheer number of projects and line-ups might be their kiss-of-death. Denzler laughs: “I’ve laid the whole thing out somewhat more clearly in the meantime.” In fact:...read more

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

Michel Legrand, a life for music

Michel Legrand died on January 26th 2019. He was 86. The composer leaves behind a prestigious career spanning 60 years that earned him a worldwide reputation. The maestro with a fiery temperament conducted his life by the baton. Obituary by Bertrand Liechti, member of the Board of SUISA

Michel Legrand, a life for music

Michel Legrand, here on 17 May 2017, before the opening ceremony of the Cannes Film Festival, had been a member of SUISA since 1998. (Photo: Regis Duvignau / Reuters)

Michel Legrand was born in 1932, in Menilmontant, a suburb of Paris, into a family of musicians: his father, Raymond Legrand, was a composer and conductor, his uncle was the conductor Jacques Hélian (Der Mikaëlian). He studied the piano, the trumpet and composition at the Conservatoire de Paris, in the class of Nadia Boulanger. He developed a passion for jazz and even recorded an album in New York (1958), alongside jazz greats like Chet Baker, Miles Davis and John Coltrane. At the time, the New Wave was definitively embarking upon its revival of French cinema. Michel Legrand worked with Jean Luc Godard, Claude Chabrol, Jean Paul Rappeneau …

In the 1960s, he met Jacques Demy, whom he was to collaborate with on 9 films, including “Les Parapluies de Cherbourg” (1964), which won the Palme d’or at Cannes, “Les Demoiselles de Rochefort” (1967) and “Peau d’Âne” in 1970. History will recall that the script, lyrics and score of the “Les Parapluies de Cherbourg” and of “Les Demoiselles de Rochefort” were conceived in the Valais resort of Verbier.

“A musical giant, a genius of a composer, jazzman and conductor!”

Michel Legrand then moved to Hollywood where he won three Oscars for the score of Norman Jewison’s “The Thomas Crown Affair” (1969) with the hit “The Windmills of Your Mind”. He repeated this feat in 1972 for Robert Mulligan’s “Summer of ‘42”, and in 1984 for Barbra Streisand’s “Yentl”. At the same time, he recorded with international stars such as Frank Sinatra, Charles Aznavour, Ella Fitzgerald, Claude Nougaro, and more recently, Nathalie Dessay.

In March 2018, I had the privilege of overseeing his composition for Orson Wells’ unpublished last film, “The Other Side of the Wind”, for Netflix. Anecdotally, in a notebook accompanying this unfinished drama, the heirs of the great American filmmaker discovered an inscription with instructions from beyond the grave: “Call Michel Legrand!”

After 20 years of collaboration with Michel Legrand, I will remember him as a musical giant – a genius of a composer, jazzman and conductor.

www.michellegrandofficial.com

Michel Legrand joined SUISA as a member in 1998. In 2002, at the Locarno Film Festival, the French composer was honoured for his life’s work by FONDATION SUISA, SUISA’s foundation for the promotion of music.
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.

Michel Legrand died on January 26th 2019. He was 86. The composer leaves behind a prestigious career spanning 60 years that earned him a worldwide reputation. The maestro with a fiery temperament conducted his life by the baton. Obituary by Bertrand Liechti, member of the Board of SUISA

Michel Legrand, a life for music

Michel Legrand, here on 17 May 2017, before the opening ceremony of the Cannes Film Festival, had been a member of SUISA since 1998. (Photo: Regis Duvignau / Reuters)

Michel Legrand was born in 1932, in Menilmontant, a suburb of Paris, into a family of musicians: his father, Raymond Legrand, was a composer and conductor, his uncle was the conductor Jacques Hélian (Der Mikaëlian). He studied the piano, the trumpet and composition at the Conservatoire de Paris, in the class of Nadia Boulanger. He developed...read more

“Get Going” contributions and “Carte Blanche” awarded for the first time

As part of its new funding policy, FONDATION SUISA made four “Get Going!” and one “Carte Blanche” grants for the first time. A “Get Going!” start-up funding of CHF 25,000 each is allocated to Beat Gysin, Bertrand Denzler, Michael Künstle and the Duo Eclecta. The “Carte Blanche” amounting to CHF 80,000 is bestowed to Cécile Marti. Text by FONDATION SUISA

FONDATION SUISA: “Get Going” contributions and “Carte Blanche” awarded for the first time

Composer Cécile Marti is awarded the «Carte Blanche» of FONDATION SUISA which is allocated every two years. (Photo: Ingo Höhn)

As part of its new funding policy, FONDATION SUISA intends to react quickly to the fast-changing music scene. In the “inbetween” area, i.e. away from common genre, age or project categories, creative and artistic processes take place which threaten to end up in no man’s land when it comes to the current application process.

As a consequence, four “Get Going!” contributions with CHF 25,000 each have been offered as awards in June, for the first time. “With this annual bidding process, we try to locate creative places and artistic visions which deserve to be funded” said Urs Schnell, FONDATION SUISA MD. “As a consequence, the competition is kept open deliberately.”

With more than 90 bids, the “Get Going!” contributions have had an enormous response among music creators. “The expert jury hasn’t made it too easy for itself to select four recipients from the many highly interesting bids”, Schnell adds. From the description of the artistic purposes that are now funded, it is easy to gauge what this type of start-up funding actually is all about. “At the end of the day, music is about discovering new worlds time and again, to render items audible and tangible and to fathom new perspectives” according to Schnell.

“Get Going!” contributions 2018

The composer Beat Gysin, for example, creates architectonic spaces in the course of his “Leichtbautenreihe” (series of light structures), where unusual audio situations enable the listener new ways to perceive music. Gysin thus investigates the dynamic possibilities resulting from the relationship between space, music and the recipient/listener.

“Space” is also a concept that Michael Künstle is interested in. The composer of film and concert music pairs orchestral tradition with modern innovation in terms of composition and recording in order to create a space composition which becomes accessible in the form of a three-dimensional listening experience.

Saxophonist and composer Bertrand Denzler, on the other hand, locates new compository possibilities via a deliberate non-allocation of his creations to spaces. With a “migrating residence”, he attempts an improvisatory and compository exchange with foreign cultures. The constant dialogue with ever-changing influences is intended to show the way which eventually flows into compository results.

Andrina Bollinger and Marena Whitcher, aka Duo Eclecta, are strolling through interdisciplinary terrain. The singers, performers, multi-instrumentalists, producers and composers collaborate continually with other art forms in order to create new audible, visible and sensible worlds of experience.

“Carte Blanche” to Cécile Marti

The “Carte Blanche amounting to CHF 80,000 which is not offered as part of a bidding process but directly awarded by an expert jury every other year, is intended to enable music creators to focus on their artistic progress without suffering from financial pressures.

Those who have followed the creative career of Cécile Marti over the last years know that the artist originating from Zurich is a worthy recipient of this “Carte Blanche”. Especially her orchestra cycle, “Seven Towers” in 7 parts and for 120 musicians, which had its première concert performed by the SOBS orchestra in Biel in 2016, and has since its inception also been performed by the Berne Symphony Orchestra, the Geneva Camerata and the Basel Sinfonietta, has caused a sensation.

Simultaneously, Marti graduated with a dissertation on musical time course. The “Carte Blanche” now enables her to transfer her initial research in this area into an artistic context. Explored courses of time shall be made visible with the aid of a ballet and by way of sculptures (Marti is also a stone sculptor).

www.fondation-suisa.ch

Related articles
FONDATION SUISA: New support strategy: “We want to look ahead”New support strategy: “We want to look ahead” FONDATION SUISA reinforces its activities regarding the support of music in Switzerland and the Principality of Liechtenstein: Each year, four music projects shall be launched under the motto “Get Going!”, and every other year, a bigger amount shall be allocated to works under the slogan “Carte Blanche”. Read more
Lyrics for a song: “Anything goes – if it has success”Lyrics for a song: “Anything goes – if it has success” The FONDATION SUISA dedicates its CHF 25,000 recognition award to lyricists of musical works this year. But what makes a song text a success? Guest author Markus Ganz in an interview with journaliste Jean-Martin Büttner. Read more
James Gruntz: “I think it’s particularly exciting when I don’t know which direction a song is going to take”“I think it’s particularly exciting when I don’t know which direction a song is going to take” James Gruntz recently released his new album “Waves”. An important role in the creation of this album is the composer in residence year that the 30-year-old songwriter, multi-instrumentalist, producer and singer has been granted by FONDATION SUISA. 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.

As part of its new funding policy, FONDATION SUISA made four “Get Going!” and one “Carte Blanche” grants for the first time. A “Get Going!” start-up funding of CHF 25,000 each is allocated to Beat Gysin, Bertrand Denzler, Michael Künstle and the Duo Eclecta. The “Carte Blanche” amounting to CHF 80,000 is bestowed to Cécile Marti. Text by FONDATION SUISA

FONDATION SUISA: “Get Going” contributions and “Carte Blanche” awarded for the first time

Composer Cécile Marti is awarded the «Carte Blanche» of FONDATION SUISA which is allocated every two years. (Photo: Ingo Höhn)

As part of its new funding policy, FONDATION SUISA intends to react quickly to the fast-changing music scene. In the “inbetween” area, i.e. away from common genre, age or project categories, creative and artistic processes take place which threaten to end up in no man’s land when it comes to the current application...read more