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Festival Archip-elles – Women Power

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

Festival Archip-elles – Women Power

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

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

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

Invitation for SUISA members

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

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

Round Table Discussion: To be a female composer in Switzerland

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

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

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

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

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

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

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

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

www.archipel.org, festival website

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

Festival Archip-elles – Women Power

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

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

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

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

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

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

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

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

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

Label Suisse: Julien Gross

Julien Gross (Photo: Anne Bichsel)

Julien Gross, President of the Label Suisse association

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

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

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

Label Suisse: Laurence Vinclair

Laurence Vinclair (Photo: Mehdi Benkler)

Laurence Vinclair, modern music programming

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

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

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

Label Suisse: Stefano Saccon

Stefano Saccon (Photo: Claude Berthelier)

Stefano Saccon, jazz programming

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

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

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

Label Suisse: Johannes Rühl

Johannes Rühl (Photo: Roland Zemp)

Johannes Rühl, new folk music programming

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

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

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

Label Suisse: Claire Brawand

Claire Brawand (Photo: Nathalie Langlois)

Claire Brawand, classical and contemporary music programming

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

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

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

www.labelsuisse.ch

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

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

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

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

Label...read more

Minor amendments only to noise legislation

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

V-NISSG: Minor amendments only to noise legislation

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

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

Current SLO regulations

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

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

No requirements for unamplified noise so far

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

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

Opposition to V-NISSG draft ordinance

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

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

FOPH will refrain largely from tightening

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

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

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

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All comments will be moderated. This may take some time and we reserve the right not to publish comments that contradict the conditions of use.

Your email address will not be published.

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

V-NISSG: Minor amendments only to noise legislation

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

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

“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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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 programme of the Murten Classics Festival included a full day of contemporary music on 25 August 2018 as part of the concert series “Offen für Neues”. The concert day, supported by SUISA and recorded by Radio SRF 2 Kultur, met with a positive response all round. Text by Manu Leuenberger

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

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

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

Open for a new things at the Festival Murten Classics

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

Open for a new things at the Festival Murten Classics

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

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

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

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

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

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

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


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

25 August 2018

Event venue
The Kleintheater KiB (Kultur im Beaulieu)

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

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

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

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

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

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

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

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

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

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

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

www.murtenclassics.ch

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

Open for a new things at the Festival Murten Classics

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

The Festival Murten...read more

Swiss creations at Festival Archipel

By placing four Swiss composers in the limelight on Wednesday 21 March 2018, Festival Archipel demonstrated that Swiss composers are still very present in contemporary music. Text by guest author Sébastien Cayet

Swiss creations at Festival Archipel

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

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

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

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

Swiss creations and international creations

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

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

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

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

Each musical effect has a meaning

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

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

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

Neue Vocalsolisten Stuttgart lived up to expectations

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

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

www.archipel.org

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By placing four Swiss composers in the limelight on Wednesday 21 March 2018, Festival Archipel demonstrated that Swiss composers are still very present in contemporary music. Text by guest author Sébastien Cayet

Swiss creations at Festival Archipel

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

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

The least...read more

“Hands-on” – the new Common Tariff K

The new Joint Tariff K applies to events which have taken place since 01 January 2017. An overview of the changes to the concert tariff in force and some answers to frequently asked questions which have arisen based on the experience gathered with the new provisions in the first few months. Text by Chantal Bolzern

“Hands-on” – the new Common Tariff K

Since January 2017, a new concert tariff has been in force in Switzerland and in Liechtenstein. The picture shows SUISA member Seven (in the middle) on stage at the Tonart Festival in Altdorf, where he performed with a trio in March 2017. More information on Seven is available in the brochure “Where the music is new”, 2017 edition. (Photo: Tabea Hüberli)

What’s new?

There is now one instead of two tariffs. That way, all information that is relevant to customers, and the respective licensing terms and conditions are now combined into one single document. This makes life much easier, especially for event organisers who organise, apart from concerts, also other events such as theatre performances, cabarets etc.

The types of events are defined and explained in more detail and clarity. Apart from concerts, there are now specific event categories for concert-like performances, shows, ballet and theatre. These are intended to help customers to find their type of event and the licensing rates required for calculating the budget more quickly.

The licence fee percentages have been newly defined and reduced for many events depending on the type of event (concert, concert-like performance, show, ballet, theatre).

Apart from concerts, Common Tariff K (CT K) also governs licensing for music appearing in comedy, shows (such as “Art on Ice” or “Masters of Dirt”), sport tournaments with choreographies such as show dances or theatre performances with musical background or bedding. The calculation of the licence fees for comedy, tattoo festivals etc. in particular will become easier since the event is now relevant as a whole for the amount of the licence rate; it is no longer necessary to license individual works at different rates. This also helps making the budgeting process for event organisers easier and reduces the efforts of SUISA.

Small concerts are invoiced based on the works that were actually used (“pro rata temporis” rule) and no longer as a lump-sum. At the same time, licensing based on the costs of the music usage was re-introduced. Thus, the copyright remuneration will be calculated on the basis of the income generated or the costs incurred. The latter specifically applies to concerts which are free of charge and charity events.

Customers may also deduct the costs for external ticket sales up to a lump-sum of 10%, even for small concerts, if they submit the relevant supporting documents. SUISA thus takes into consideration that event organisers nowadays do use external ticket agencies, even for small or non-commercial events.

Performing artists of any recordings that are played by event organisers prior or after the event, or between the live performances, now also grant the event organiser reproduction rights. This entails a slight increase of the licensing rate for neighbouring rights from 0.2% to 0.25%.

Following the afore-mentioned lowering of the licensing fees, there was a review of the discount system. The volume discount is now only granted for small concerts and the contractual customer must be a member of a recognised association of event organisers in order to qualify for a discount.

What has not changed?

Services to concert goers by third parties that are included in the entrance fee, such as the use of public transport, a voucher for an inclusive drink etc. as well as ticket and value-added tax may still be deducted from the income if the relevant supporting documents are submitted.

The minimum licence fee has remained the same and still amounts to CHF 40 per event. Our contractual customers continue to receive the association discount as well as a 2% cash discount if they pay their invoice within 10 days.

Event organisers must submit set lists or lists of the performed works to SUISA. Firstly, SUISA requires such lists so that it can calculate a correct licensing amount. If SUISA does not hold the rights in all the titles, because, for example, copyright protection has already lapsed, the licensing amount is reduced on a pro rata temporis basis. The licensing rate also gets reduced on a pro rata temporis base if music is not used throughout the entire performance, as is the case quite regularly for theatre performances or comedy. Secondly, SUISA requires the lists in order to distribute the income collected to those composers and publishers whose music has been performed during the event.

Answers to frequently asked questions

Why does the new tariff create more administrative effort?
Introducing a new tariff is always an opportunity to check with long-term customers whether the modalities for the notifications of the events are still suitable for both parties. Furthermore, it is possible that with the partial changes to the licensing rates or conditions under the tariff, SUISA requires different information from customers. This mainly affects such concerts for which event organisers had received a licence based on the Common Tariff Kb between 2009 and 2016 (small concerts). Unfortunately, this is linked to an increased administrative effort for customers as well as for SUISA during a transitional period. As soon as we have clarified with individual customers in each case how we can licence and distribute correctly, this will get easier again.

What is a small concert and why is there no longer a specific tariff for it?
Between 2009 and 2016, a proper tariff applied for small concerts, Common Tariff Kb. Since the beginning of this year, small concerts are governed by the same tariff again as major concerts, theatre performances or comedy events.

In order to continue to fall under the “small concert” category, the capacity of the event venue must be no bigger than 999 people, and the income generated from ticket sales may not exceed CHF 15,000 per event. In this segment, the basic licensing rates were lowered from 10% until 2008 via 9.5% in 2016 to 9% for this year. Until 2008 the same rules have applied, and now, from 2017 onwards, apply again for the declaration of the concerts and licensing such as major concerts. This means that customers deliver the same information to us and don’t have to ask themselves each time which category the event falls under and how they should submit their documentation to SUISA.

This is especially a simplification of matters for medium-sized clubs whose capacity is just less than 1,000 people and which have generated more than CHF 15,000 in ticket sales in one instance and less in another. It’s also facilitating matters immensely for the venues that organise cabarets and concerts. Until now, you had to adhere to CT Ka for comedy, dance, acrobatics etc., and CT Kb for concerts.

Why are sponsoring monies or subsidies suddenly taken into consideration as income in the case of small concerts?
The basic idea of copyright is that authors participate in the collections which have been generated from the exploitation of their works. In the event business, the main income source are usually the ticket sales. If an event organiser’s plans for their budget only caters for the music costs such as payment for musicians to be covered by way of third party means, such third party means (sponsoring, subsidies etc.) must be taken into consideration as an income. This rule has already been established in concert tariffs as early as 20 years ago. It applies for all major concerts, comedy and theatre performances and used to apply to small concerts up until 2008. Due to the combination of the two tariffs CT Ka and CT Kb, it now applies to small concerts again since the beginning of this year.

Many non-commercial clubs and stages create annual budgets, where they make a hybrid calculation. They receive subsidies from their municipalities or cantons, but finance themselves from ticket income and turnover generated by the gastronomy on top of that. As long as they assume in their annual budgets that their ticket sales cover the artists’ performance salaries, the new tariff entails no changes for them. For long-term customers it therefore suffices to glance over their old invoices (up until 2008) to see whether a change has taken place. During the tariff negotiations, we undertook thorough calculations and research together with the associations whose results are now confirmed when implementing the tariff: for the vast majority of the event organisers of the non-commercial sector and especially clubs and stages, nothing will change.

The changes do, however, affect event organisers of corporate events or events that are free of charge, but also categories which can only pay artists’ salaries and other costs related to music by means of subsidies or sponsors’ subsidies.

What are non-musical performances at major concerts and what do they entail?
Both the old Common Tariff Ka (item 25 CT Ka) as well as the new Common Tariff K (item 14.1 CT K) include the term “non-musical performances”. We found out in everyday application of the tariff, that it wasn’t always clear to event organisers what is meant by this term. In order to answer these questions in the tariff, we have clarified this term in the new tariff text: it includes sophisticated choreographies, elaborate costumes and costume changes, video installations or light shows which go beyond the ‘must-have’. By doing so, we want to – as is required by copyright law – take performance-related activities into consideration which are not music but are still protected by copyright.

In practice, this means that the entire concept is taken into consideration for concerts of artists such as Beyoncé or bands like Archive, and the event organiser has to pay a lower licensing rate for the copyright in musical works. It also means that even in big stadiums, concerts sometimes will take place without elaborate artistic production and the event organiser will pay the usual basic licensing rate. That does not only apply to big classical concerts but can also be the case for concerts of certain singer songwriters, like Bruce Springsteen or Neil Diamond.

Why were the new provisions of the concert tariff made known so shortly before its introduction?
In June 2016, SUISA had announced that a new tariff had been negotiated with the relevant user associations such as SMPA, petzi, KTV, ATP etc. and that an agreement had been made. The result of the negotiations was submitted to the Federal Arbitration Commission for copyright and neighbouring rights (ESchK) for approval. The EschK approved the new Common Tariff K on 20 December 2016 and the tariff could thus come into force on 01 January 2017. The relevant tariff documents could not be officially published prior the approval had been given by the ESchK. SUISA had no influence on the date of the approval.

Further information:
«Concerts, comedy shows, shows, ballets, etc.» on www.suisa.ch

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The new Joint Tariff K applies to events which have taken place since 01 January 2017. An overview of the changes to the concert tariff in force and some answers to frequently asked questions which have arisen based on the experience gathered with the new provisions in the first few months. Text by Chantal Bolzern

“Hands-on” – the new Common Tariff K

Since January 2017, a new concert tariff has been in force in Switzerland and in Liechtenstein. The picture shows SUISA member Seven (in the middle) on stage at the Tonart Festival in Altdorf, where he performed with a trio in March 2017. More information on Seven is available in the brochure “Where the music is new”, 2017 edition. (Photo: Tabea Hüberli)

What’s new?

There is now one instead of two tariffs. That way, all information that is relevant to customers,...read more

Concerts and Festivals in Switzerland

In a commentary for IQ magazine, the publication of the International Live Music Conference (ILMC), Chantal Bolzern, Head of the Performing Rights Department at SUISA, outlines the importance of co-operation between collective management organisations and promoters.

Concerts and Festivals in Switzerland

Chantal Bolzern used to organise concerts herself in the past; she also completed a cultural management training course. In 2004, she started to work for SUISA in the legal department. Since 2010, she has been Head of the Performing Rights Department. (Photo: Sebastian Vollmert)

The Swiss apparently love concerts and festivals. Every year new festivals are founded and are taking place even in remote areas in the mountains. Some disappear again after a short time, others can look back on a long tradition of 40 years or more. There is also a wide range of alternative music clubs who attract a large crowd every week.

In 2015, SUISA licensed more than 20,000 concerts and festivals where over 360,000 different songs were performed. The tariff for concerts generated royalties of CHF 20.3m in 2015 which is nearly 50% of all revenue from performing rights. Considering that Switzerland only has a population of 8m, these figures are rather impressive.

SUISA serves as hub between songwriters and concert promoters

In order to make all this possible you need a great song as a basis, you need performers who translate the song into an inspiring live performance on stage. And last but not least you need the promoter to organize the event, make it run smoothly and make the crowd happy.

SUISA serves as a hub in this business. As a co-operative society we are owned by our members and therefore our aim is to help songwriters and publishers to participate in the income others generate with their songs. On the other hand, we want promoters to have easy access to the rights they need to create their event and to generate their revenue.

For two years, SUISA negotiated a new concert and festival tariff with all the relevant trade organisations in order to simplify the calculations for the promoters. The tariff sets  a license rate for concerts or festivals between 7% and 10% of ticketing revenue and a discount for the membership in a trade organization. Our tariff is also a one stop shop for the neighbouring rights which facilitates especially the lives of festival promoters.

Respect helps conquering new challenges in the live business ecosystem

Every 3 months we distribute royalties with detailed statements so that songwriters and publishers can verify where their money is coming from. We have full transparency in the revenue stream. All licensing and distribution work is done at a low administration cost of 12%.

Live business is an ecosystem where all parties involved need each other in order to keep things going. When all of them do a good job, they have not only a great time but they also make money. This allows composers to create new songs, which makes new performances and new concerts possible. Therefore we should all value and respect each other’s share and efforts in this business and work on solutions for new challenges together.

This contribution was written for IQ magazine where it has been published in the print edition of January 2017 on page 27 as well as online on the magazine websit. IQ magazine is an annual publication with 6 editions per year of the International Live Music Conference (ILMC).

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If bands and event promoters organise a concert together The event organiser of a concert has to pay the copyright licence fee. How does it affect the legal situation, if musicians and organisers jointly run the performance by way of a cooperation? The concert organiser is responsible for paying the copyright licence fee in the case of artist engagement agreements. It occurs that events are organised by the bands themselves or in cooperation with third parties. In such cases, the type of cooperation between the band and the organiser determines who has to pay the copyright licence fee. Read more
4 tips for you how to get your concert royalties So the songs you wrote are also played live in concerts? Concerts with your music have a value for you! Your concert payment is your reward for your live performance; you do, however, also earn money for composing your songs: That’s what we call royalties. SUISA can collect these royalties for you. Read more
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Leave a Reply

All comments will be moderated. This may take some time and we reserve the right not to publish comments that contradict the conditions of use.

Your email address will not be published.

In a commentary for IQ magazine, the publication of the International Live Music Conference (ILMC), Chantal Bolzern, Head of the Performing Rights Department at SUISA, outlines the importance of co-operation between collective management organisations and promoters.

Concerts and Festivals in Switzerland

Chantal Bolzern used to organise concerts herself in the past; she also completed a cultural management training course. In 2004, she started to work for SUISA in the legal department. Since 2010, she has been Head of the Performing Rights Department. (Photo: Sebastian Vollmert)

The Swiss apparently love concerts and festivals. Every year new festivals are founded and are taking place even in remote areas in the mountains. Some disappear again after a short time, others can look back on a long tradition of 40 years or more. There is also a wide range of alternative music clubs...read more

Tariff negotiations 2016 – an overview

While companies in other sectors are at their busiest during the Christmas period, SUISA “sales” hit their peak time during spring – this is when tariff negotiations must be brought to a conclusion and the approval for the tariffs to be valid from 1st January of the following year must be obtained from the Federal Arbitration Commission for the Administration of Copyright and Neighbouring Rights. Text by Anke Link

The Tonhalle Orchestra Zurich (see picture), www.tonhalle-orchester.ch, is a member of orchester.ch, an association of Swiss professional orchestras with which SUISA has successfully reached a new tariff for copyright licence fees for performances by concert consortiums. (Photo: Priska Ketterer / Tonhalle Orchestra Zurich)

SUISA and many of its negotiation partners have agreed upon adding a new clause to the tariffs in the last few years, allowing an automatic extension of the relevant tariff in cases where none of the parties desire a new round of negotiations. This has now shown its benefits: None of the relevant tariffs has been terminated so that it has not been necessary to hold negotiations for these tariffs.

This has opened up additional capacity for the negotiation of new tariffs that come to an end in 2016. At the same time, SUISA has also been able to participate intensively in the negotiation process for tariffs managed by its sister organisations Suissimage and ProLitteris.

As early as in autumn 2015, SUISA had agreed a new Tariff D with orchester.ch, the association of Swiss professional orchestras, which will come into force from 01 July 2016. The tariff has been edited in terms of the wording, but the remuneration and the tariff system remain unchanged. The same applies for Common Tariff HV (hotel TV) and Common Tariff 4 (blank media levy) where an approval of the associations for the new version of the tariffs from 01 January 2017 could be swiftly reached.

Agreement on a new concert tariff from 2017

The negotiation of the new Common Tariff K (CT K) for concerts, concert-like performances, shows, ballet and theatre required more time to settle. Negotiations for this tariff had already begun in December 2013. The preceding tariffs CT Ka and CT Kb had been extended twice, in order to provide enough time for the negotiation of the new tariff.

This turned out to be a good investment as the time was used so that SUISA and its negotiation partners could agree upon a new tariff CT K which will enter into force from 01 January 2017. The new CT K will apply to all concerts and performances which have previously been covered by CT Ka and CT Kb. Individual performance categories have been formulated more clearly in the new tariff.

The tariff structure has also been changed compared to the previous tariffs. A basic criterion – the fact that organisers pay a licence fee based on a percentage of their income – still remains the same. Depending on the type and size of the event, different percentages apply. The different percentage rates take it better into account that there may be additional artistic performances during concerts which influence the character of the performance.

If such additional performances take place they have a diminishing effect on the percentage. In return, the previous discounts were deleted. Only those organisers who are members of an association for organisers may be subject to rebates if the respective association collaborates with SUISA. Overall, the new CT K provides for a fair remuneration and also contributes to an increased legal certainty for all partners.

The importance of the legal certainty can be illustrated by the seemingly never-ending process which preceded the first legally binding and valid Common Tariff 4e (Levy for private copying via smartphones). Rights holders had to wait more than five years until the remuneration due to them could finally be collected. SUISA is trying, wherever possible, to avoid such situations.

Number of tariffs reduced

Negotiations for the new Common Tariff 4i (Levy for integrated digital storage media in devices) which is going to combine the previous common tariffs 4d (MP3 player and hard disc recorders), 4e (mobile phones) and 4f (tablets). Instead of three tariffs, there will only be one, the CT 4i. This is another step towards a reduction of the number of tariffs requested by the public and the politicians.

During the negotiations for the new CT 4i, SUISA and its negotiation partners agreed on a lowering of the tariff rates per GB for smart phones and tablets and a lowering of the tariff rates per GB for hard disc recorders with a storage space of more than 2 TB. That way, the established increased storage capacity of these devices in the market has been taken into consideration.

Unfortunately, SUISA could not reach an agreement for Common Tariff 3a (background music and making available of broadcasts). This tariff procedure is unfortunately in dispute and may – see above – drag on over a longer period of time.

SUISA cooperates with others for further tariff negotiations

Apart from these “main negotiations”, SUISA also supported its sister society ProLitteris with the negotiations on a new Common Tariff 7 (“School tariff”) and other new common tariffs 8  and 9 (levy on photocopying and remuneration for digital networks). All three tariff negotiations could be concluded with agreements whereby a slight increase could be reached for CT 8 and 9.

SUISA also supported the negotiations led by Suissimage for Common Tariff 1 (cable re-transmission) and Common Tariff 12 (virtual video recorders and catch-up TV). An increase could be reached with the negotiation partners for both tariffs.

The broadcasters, however, on the side of the rights holders, have not supported this agreement for the CT 12. They deem the option provided by catch-up TV to skip the ads to be a threat to their business models and therefore wish to directly represent their own interests in the impending tariff approval procedure with the Federal Arbitration Commission.

Even though it has not been possible to reach mutually agreed deals in all negotiations, SUISA and its sister societies did manage to reach agreements in the majority of cases and therefore continue to safeguard the interests of all of its members.

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While companies in other sectors are at their busiest during the Christmas period, SUISA “sales” hit their peak time during spring – this is when tariff negotiations must be brought to a conclusion and the approval for the tariffs to be valid from 1st January of the following year must be obtained from the Federal Arbitration Commission for the Administration of Copyright and Neighbouring Rights. Text by Anke Link

The Tonhalle Orchestra Zurich (see picture), www.tonhalle-orchester.ch, is a member of orchester.ch, an association of Swiss professional orchestras with which SUISA has successfully reached a new tariff for copyright licence fees for performances by concert consortiums. (Photo: Priska Ketterer / Tonhalle Orchestra Zurich)

SUISA and many of its negotiation partners have agreed upon adding a new clause to the tariffs in the last few...read more

New Concert Tariff 2017

After some intensive negotiations, SUISA and the association of concert organisers have agreed on a new concert tariff. The new Common Tariff K shall replace the tariffs CT Ka and CT Kb still valid until the end of 2016, and enter into force on 01 January 2017. Text by Chantal Bolzern and Manu Leuenberger

Stefan Buck during a sold out gig (Photo: Tabea Hüberli)

According to the SMPA index, Swiss music on Swiss concert stages has been on the upswing (pictured: Stefan Buck during a sold out gig by the band Band Hecht on 24 March 2016 in the Lucerne concert house Schüür). A new concert tariff for the remuneration to composers and lyricists of the performed songs shall be in force with effect from 2017. (Photo: Tabea Hüberli)

For six years now, the applicable Common Tariffs Ka and Kb have already been in place for concerts, shows and theatre performances. The music business and together with it, the concert market, have progressed further in the meantime. It was time for a new concert tariff which takes the current conditions in the live business into consideration. As always, whenever negotiations are on the cards, SUISA intends to simplify the tariff landscape. This means: reducing the number of tariffs and streamlining structures.

Tariff negotiations for the new concert tariff with the SMPA, Petzi, the Swiss Stage Association as well as other significant trade associations had started in February 2014. After intensive discussions, SUISA and the associations of the concert organisers managed to agree on a new concert tariff in April 2016. From now on, there is only one Common Tariff K which shall replace the two old tariffs Ka and Kb, and enter into force with effect from 01 January 2017.

By way of agreeing this new tariff, SUISA has achieved the intended simplification: There is now only one tariff instead of previously two. The advantage for customers is that they can now locate all the answers relating to their concerts, irrespective of the size of the event, in one single tariff. The animated exchange with representatives from the concert sector had another positive aspect i.e. that important customer concerns – such as tiered licence fees depending on the type of event – could be taken on board and have influenced the creation of the new tariff.

Financial importance of the concert market for SUISA members

The agreement is good news, not least because the concert business has a great significance for SUISA members. The concert and festival landscape in Switzerland is in full swing. SUISA licences more than 20,000 concerts and festivals and looks after nearly 10,000 concert organisers and stages. In 2015, the income from tariffs Ka and Kb amounted to CHF 20.3m. These two tariffs thus nearly made up half of SUISA’s total income from performing rights (CHF 46m).

The financial importance of the Swiss concert market can also be illustrated by means of some figures from the SMPA index for 2015. The SMPA index is issued by the Swiss Music Promoters’ Association. According to their own accounts, members of the association for professional Swiss concert, show and festival organisers more than 80% of the tickets sold in Switzerland were for concerts, shows and festivals.

In line with the 2015 index, members of the SMPA sold 3.6m tickets to an audience amounting to 5.2m of about 1,700 events. At an average ticket price of CHF 78.65 they reached a gross turnover of approx. CHF 357.7m which represents an increase of 11.5% compared to the previous year.

It is positively noteworthy that the number of Swiss artists who are hired for the events has, according to the SMPA index, continued to rise. As such, 1,087 Swiss Acts as well as 1,687 foreign artists participated in SMPA events in 2015. Since 2011, the number of Swiss artists hired for these events has doubled, as per the information provided by the association in a media bulletin dated 21 April 2016.

The new concert tariff CT K

Irrespective of whether Swiss or international artists perform: The new concert tariff CT K shall apply for all events which take place in Switzerland or the Principality of Liechtenstein. Even if the two old tariffs (Ka and Kb) have been contracted to one new tariff, a lot is still the same.

As previously, SUISA will continue to request set lists in future, so that the income can be distributed correctly to the composers and lyricists of the pieces used in the performance. In 2015, SUISA processed 360,000 works arising from the set lists of such events. Based on the set lists, the income from tariffs Ka/Kb could be distributed, resp. paid out to the rightsholders of these works.

The difference between major events and small concerts

In the new concert tariff, the 10% discount continues to apply for all customers if they are members of an association (such as SMPA or Petzi), which support SUISA in its work as mentioned in the tariff wording. As before, major events are distinguished from small concerts. In a nutshell: For small concerts, the volume discount continues to be applicable, but there are no tiered licence fees. For major events, new, tiered licence fee rates have been introduced, but the volume discount has been discontinued.

In practice, this means: Organisers of small concerts are granted up to 20% volume discounts in addition to the association membership discount if they regularly organise concerts. In the case of major events, however, newly tiered licence fee rates for different event types such as concerts, open air festivals, shows, theatre performances etc. shall be applicable. Depending on the type of major event, the base licence rate varies between 3% and 10% of the gross income generated by ticket sales.

With this innovation of the tiered licence fee rates, the diverse significance of music in major events is taken into consideration. The negotiating parties agreed that an open air might essentially depend on the programme and the performing artists, but that the choice of the grounds and additional offers also contribute to the atmosphere and success of a festival. In the case of stadium concerts, on the other hand, artists work with screens, choreographies and elaborate light shows which differentiates them from acoustic concerts in a more intimate circle. Finally, the versatile use of music in the cabaret sector or in theatre performances had to be duly taken into consideration.

Approval and validity of the new tariff

The new Common Tariff K is yet to be approved by the arbitration tribunal in charge, the Federal Arbitration Commission (ESchK) so that it can enter into force with effect from 2017. Once it has been approved, the new Tariff CT K shall act as the basis for the remuneration for music in concerts, shows, and theatre performances etc. which are performed after 01 January 2017. Any events performed up to the end of 2016 shall still be licensed based on the existing Common Tariffs Ka and Kb.

All event organisers that have an agreement with SUIA shall receive a letter with further details on the new tariff in order to facilitate their budgeting of the events in the next year. It is also planned to provide further information via SUISA’s publication channels.

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After some intensive negotiations, SUISA and the association of concert organisers have agreed on a new concert tariff. The new Common Tariff K shall replace the tariffs CT Ka and CT Kb still valid until the end of 2016, and enter into force on 01 January 2017. Text by Chantal Bolzern and Manu Leuenberger

Stefan Buck during a sold out gig (Photo: Tabea Hüberli)

According to the SMPA index, Swiss music on Swiss concert stages has been on the upswing (pictured: Stefan Buck during a sold out gig by the band Band Hecht on 24 March 2016 in the Lucerne concert house Schüür). A new concert tariff for the remuneration to composers and lyricists of the performed songs shall be in force with effect from 2017. (Photo: Tabea Hüberli)

For six years now, the applicable Common Tariffs Ka and Kb have already been...read more