Tag Archives: Composer

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.

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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.

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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.

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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.

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  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

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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.
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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

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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

“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

Charles Aznavour’s songs are part of our collective identity

Charles Aznavour joined SUISA in 1976 and was one of our best-known members. The countless tributes on TV, radio and in the press around the world since his death are a reminder, if one was necessary, of the scale of his legend. They can also teach us a few important lessons. Obituary by Xavier Dayer, President of SUISA

Charles Aznavour’s songs are part of our collective identity

Charles Aznavour, pictured at the Teatro Regio di Parma on 30 October 2009, wrote lyrics and music for innumerable chansons over the course of his career. (Photo: Fabio Diena / Shutterstock)

As a singer and performer, Charles Aznavour was a genius, yet he was also an extraordinary composer and lyricist and he highlighted this essential aspect of his activities time and time again.

In the public archives of French authors’ rights society SACEM, we can find the entrance examination he took to join the society as an author in 1947. Yes, it’s true: at that time all new members had to pass an entrance exam! It is particularly moving to read the lyrics to a song called “Si je voulais”, corrected by SACEM in red ink.

It’s a powerful reminder of the steps taken by Charles Aznavour, son of Armenian immigrants, on his path from obscurity to global fame. One cannot help but see this journey as a hymn to the openness of our modern societies to the constant acceptance and awareness that cultures are enriched by these ties. At this very moment, a “Charles Aznavour” of tomorrow might be on a boat crossing the Mediterranean.

Today, Aznavour’s gravelly voice and his songs, with their distinctive words and melodies, are a part of who we are, our collective identity. His work is part of our “today” and his career is a message of hope to all creators.

Words are always pale in comparison with the power of musical expression. They cannot convey how deeply grateful we are at SUISA to have handled rights management for Charles Aznavour. This is truly an immense honour and we would like to offer our sincere condolences to his loved ones.

www.aznavourfoundation.org

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Charles Aznavour joined SUISA in 1976 and was one of our best-known members. The countless tributes on TV, radio and in the press around the world since his death are a reminder, if one was necessary, of the scale of his legend. They can also teach us a few important lessons. Obituary by Xavier Dayer, President of SUISA

Charles Aznavour’s songs are part of our collective identity

Charles Aznavour, pictured at the Teatro Regio di Parma on 30 October 2009, wrote lyrics and music for innumerable chansons over the course of his career. (Photo: Fabio Diena / Shutterstock)

As a singer and performer, Charles Aznavour was a genius, yet he was also an extraordinary composer and lyricist and he highlighted this essential aspect of his activities time and time again.

In the public archives of French authors’ rights society SACEM, we can find...read more

“A Cello talks like a human”

Apart from his activities as a paediatrician, Dr. Beat Richner has been a musician all of his life. From 1972 onwards, he performed under the pseudonym “Beaotcello”. For his poetic and cabaret music programmes, he wrote music and lyrics of several works himself. The long-term SUISA member passed away in the early hours of Sunday, 09 September 2018 at the age of 71. Text by Manu Leuenberger

Beat Richner: “A Cello talks like a human”

The paediatrician who played music, Dr. Beat Richner – here a production image from the movie “L’Ombrello di Beatocello” by Georges Gachot – had been a SUISA member since 1978. (Photo: Gachot Films / www.lombrellodibeatocello.com)

Beat Richner was born on 13 March 1947 and grew up in Zurich. After taking his baccalaureat, he dedicated himself to music for a year. The 19-year-old publicly performed a programme called “Träumerei eines Nachtwächters” (Musings of a night watchman). During his subsequent studies of medicine, he developed the character of the music clown “Beatocello”. Beat Richner became known in the Swiss cabaret scene under said pseudonym. In the context of his humanitarian engagement in Cambodia, the paediatrician-musician also attracted interest abroad.

In 1978, Beat Richner became a SUISA member. He was the composer and lyricist of songs which he wrote mainly for the Beatocello music programmes. His compositions carry titles such as “Chatz und Muus” (cat and mouse), “SʼTröpfli” (the droplet), “Zirkus” (circus), “Doctor PC” (doctor PC), or “Dong und Deng” (Dong and Deng) and have been recorded onto various CDs. Other recordings feature the cello player as a performer of works by Bach, Vivaldi and Bruch.

The cello was a loyal companion for Dr. Beat Richner. In an interview with the “Schweizer Illustrierten”, he mentioned that he played the instrument for 30 to 40 minutes every day. That way, he would stay fit to play during concerts which he held each Saturday in Siam Rep for visitors from all over the world in order to inform about the hospitals he founded and to raise donations. “A cello does talk like a human then”, Beat Richner said during the interview. “A simple, a warm and comforting voice.”

www.beat-richner.ch

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  1. Dodo Leo says:

    An Beatocello erinnere ich mich oft, immer wieder gerne und, als wenn es gestern gewesen wäre, dass ich seine Lieder gehört habe.
    Das trifft es aber eigentlich nicht ganz, viel mehr war Hr. Richners Figur eine ständige und haltgebende Begleitung meiner Kindheit. Der Umstand, warum ich seiner Musik und Geschichten als Kind begegnete, kommt daher, dass ein erheblicher Teil dieser Kindheit – vor allem in der früheren Phase – im Kinderspital stattfand. Ich hatte ein kleines, silbergraues Kassettengerät, mit dem man nur vorwärt spulen konnte, und das ein bisschen schepperte. Das machte mir nichts aus, denn was ich hörte, war viel mehr als Musik. Es waren Gefühle des Trostes, Linderung der Angst.
    Wenn Hr. Richner in dem Interview mit der »Schweizer Illustrierten« davon sprach, das Cello würde “sprechen wie ein Mensch”, dann kann ich das nur bestätigen. Für mich war es ganz genau so, ich erinnere mich gut. Einmal, so meine ich mich jedenfalls ebenfalls erinnern zu können, war er sogar bei uns auf der Station. Aber, vielleicht ist das auch Wunschdenken eines Erwachsenen, der sich wünscht, es wäre damals so gewesen. Irgendwie war er sowieso immer da.
    Ich halte inne und senke mein Haupt, verbeuge mich in tiefer Annerkennung und Dankbarkeit an einen selbstlosen Mann, der mir und vielen anderen im Leben so viel gegeben hat und sage; Danke Hr. Richner.
    Dodo Leo

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Apart from his activities as a paediatrician, Dr. Beat Richner has been a musician all of his life. From 1972 onwards, he performed under the pseudonym “Beaotcello”. For his poetic and cabaret music programmes, he wrote music and lyrics of several works himself. The long-term SUISA member passed away in the early hours of Sunday, 09 September 2018 at the age of 71. Text by Manu Leuenberger

Beat Richner: “A Cello talks like a human”

The paediatrician who played music, Dr. Beat Richner – here a production image from the movie “L’Ombrello di Beatocello” by Georges Gachot – had been a SUISA member since 1978. (Photo: Gachot Films / www.lombrellodibeatocello.com)

Beat Richner was born on 13 March 1947 and grew up in Zurich. After taking his baccalaureat, he dedicated himself to music for a year. The 19-year-old publicly performed a programme...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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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
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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