Tag Archives: Music festival

Ghost Festival – The big silence

The Ghost Festival, the biggest concert event ever to be held in Switzerland will take place over the next weekend. The line-up includes around 300 bands and artists. However: There are neither performances, nor music or light shows. The Ghost Festival which was conceptualised as an initiative of solidarity for the Swiss music scene, is emblematic for the disastrous situation creators and artists find themselves in during the corona crisis. SUISA supports the festival as a sponsor. It had a video interview with Baldy Minder, the co-organiser of the festival regarding the facts behind the non-festival. Text by Giorgio Tebaldi; Video by Nina Müller

The line-up of the Ghost Festival makes the heart of every Swiss pop and rock music fan beat faster: Established names such as Stephan Eicher, Patent Ochsner or Dodo are lined up next to the “young and wild ones” such as Crème Solaire, Annie Taylor or KT Gorique. Unfortunately, you will not get much more than their names. Music is something you will not find at this event, nor will there be brilliant live shows or the usual festival feeling with tents, catering stalls and queuing in front of mobile toilets.

The Ghost Festival is “the festival that does not take place”. It is not going to take place over the weekend of 27/28 February 2021.

Ghost matches in football were the inspiration for the Ghost Festival

Brought to life by a few Berne music lovers, the Ghost Club, the Ghost Festival is an initiative of solidarity for Swiss music creators and performers.  Baldy Minder, booker and manager of acts such as the Bern Hip-Hop-Kollektiv Chlyklass or the female rapper 11Ä is a member of the Ghost Club. In the backstage area of the Zurich concert venue “Exil”, he told us during the video interview what the basic idea of the Ghost Festival is: “There are ghost matches in football. And as a supportive football fan, you show your solidarity these days by renewing your season ticket even though the future is uncertain. And that is how the idea for the Ghost Festival came about.”

Music fans can buy tickets for the festival as follows: A one-day pass for CHF 20, a two-day pass for CHF 50 or a VIP ticket for CHF 100. And because it does not take place, the tickets are never sold out. Furthermore, there is a broad range of Ghost Festival merchandise from T-shirts to hats and caps or hoodies and jackets. The income thus made will be paid through to the artists as well as their bookers, light and sound engineers and others. This kind of money is more than just a nice little top up: In the current situation, the most important source of income for most of the music creators and artists – in the broadest sense – drops out: concerts. And this situation has been ongoing, apart from a few short periods of relief in the summer of 2020, for one year now. And an improvement is not in sight.

A hole of more than CHF 50,000 in the financial ledgers of the authors and publishers of music

This is also reflected at SUISA when it comes to the collections from performing rights which include concerts and festivals, among others. Based on the example of the Ghost Festival, this can be well demonstrated: Around 15,000 tickets have been sold so far for the festival. If this was a normal event, where artists perform their songs, the composers, lyricists and publishers of the performed works would receive more than CHF 50,000 in royalties. Since no music is played, this kind of income simply drop off.

Around 400 festivals take place in Switzerland each year, the country with the largest festival density worldwide. Most of these festivals had to be cancelled due to the corona pandemic last year. As a consequence, SUISA’s income for copyright arising from concerts in 2020 were more than 50% lower than in the previous year. In absolute figures, this is, compared to 2019, CHF 12m less which will be paid out to the music creators in 2020 from concert income. And this detrimental situation is going to last well into 2021 and probably also into 2022.

An initiative of solidarity also aimed at bookers, sound engineers, roadies and other participants

And these are only the collections for those who composed or wrote the lyrics to musical works or are in the publishing business. For musicians, there is also the loss of gig fees, which are usually much higher than the copyright royalties. Concert and festival cancellations are not just problematic for musicians: The crisis which has now been going on for about a year has also affected the people that make such a festival and concerts possible in general: Bookers, sound and light engineers, roadies, tour managers, merchandise salespeople, security staff or of course the concert promoters themselves.

“The idea is that it is not just the bands who benefit but also that there is a holistic promotion and support for people who work in this sector”, says Baldy Minder. “When bands are on the road, they have a tour manager, a light engineer or a sound engineer; bands who travel with instruments have stage hands who help to carry all the equipment. There are an awful lot of people involved who currently have very little to do, unfortunately, and thus much less income.”

100% of the ticket sales go to the music creators

That is why the artists and bands could name two additional people from their entourage who should also benefit from the income generated by the Ghost Festival. In total, this is about 1,300 people. “The collected monies will be distributed on a per capita basis and not on a per-band basis”, explains Baldy Minder. While 100% of the income from ticket and merchandising sales flow to music creators, a part of the sponsorship funds will be used to pay for the work of the organisers. “The partnerships enable us to pay our salaries”, says Baldy Minder.  And adds: “Whatever remains of the sponsorship funds will be allocated to the artists.”

One of the biggest challenges for the organisers was time management: The idea came about at the end of November 2020. There were just three months to carve out the biggest festival in Switzerland. Even if there are no performances in the end, there are some parallels between organising a ghost festival and a real festival, as Baldy Minder explains: “A major part is rather similar to a real festival. You have to make a booking, you initiate the entire promotion, social media and press campaign. You have a lot of contact with the bands. What you don’t have is the entire infrastructure. You do not have to build a fence, set up a stage and we do not have to organise a PA company. We also do not need security. We do not need to pay SUISA fees since nothing is going to happen from a copyright perspective, after all, you won’t hear a peep at the festival.”

Ghost sounds, if anything

The event organisers have also intentionally renounced on organising streaming concerts for the weekend. Baldy Minder says: “Many people are asking for streams, but no, there will simply be nothing this time, no music. It is now finally the time where you can lean back and give back.”

For the audience of the Ghost Festival that does not want the sounds of silence and is missing the music, there will be something to listen to after all, even if it is no music: “We will release an album. It won’t be a compilation but an album as “The Ghost Orchestra”, announces Baldy Minder. It will be released on 26/2/21, one day ahead of the festival.” It is going to be released as a CD – with a clear idea behind it, as Baldy Minder explains: “The CD is totally anti-cyclical, a little bit of a ghost which is slowly vanishing.” Most of the bands from the line-up will be included on the mysterious CD. And they are artists from all language regions of Switzerland. After all, the Covid-19 pandemic affects music creators across all of Switzerland.

SUISA is a partner of the Ghost Festival
The Covid-19 crisis heavily affects SUISA members. For that reason, SUISA acts as a sponsoring partner of the Ghost Festival, not just the Cooperative Society itself but also its staff members. Each ticket that is bought by the SUISA staff will be enhanced in value by the company: Each one-day ticket will be upgraded to a two-day ticket, each two-day ticket will be upgraded to a VIP ticket and for each sold VIP ticket the staff receive a second VIP ticket.Above and beyond that, SUISA will be reporting from the festival on the festival weekend and talk to some artists and organisers. More info will be available in the coming days on www.instagram.com/suisamusicstories.

 

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The Ghost Festival, the biggest concert event ever to be held in Switzerland will take place over the next weekend. The line-up includes around 300 bands and artists. However: There are neither performances, nor music or light shows. The Ghost Festival which was conceptualised as an initiative of solidarity for the Swiss music scene, is emblematic for the disastrous situation creators and artists find themselves in during the corona crisis. SUISA supports the festival as a sponsor. It had a video interview with Baldy Minder, the co-organiser of the festival regarding the facts behind the non-festival. Text by Giorgio Tebaldi; Video by Nina Müller

The line-up of the Ghost Festival makes the heart of every Swiss pop and rock music fan beat faster: Established names such as Stephan Eicher, Patent Ochsner or...read more

Label Suisse and SUISA make Swiss music possible | plus video

The ninth edition of the Label Suisse Festival will take place in Lausanne from 18 to 20 September 2020. Programming of this biennial festival is dedicated to the Swiss music scene with all its diversity. Special highlight: Artists from all genres have composed works especially for the Label Suisse. These works will be performed live at the festival for the first time. SUISA is once again involved as one of the main partners of the festival. Text by Erika Weibel

Label Suisse is unique to Switzerland: Every two years, the festival in Lausanne offers the public an insight into Swiss music creation – across geographical and genre boundaries – and thus highlights the current horizons of Swiss musicians of contemporary music from pop, rock, jazz, classical and new folk music in its most diverse forms of expression. More than 60 established as well as emerging artists will be performing as part of the varied programme in various locations in Lausanne over three days.

Exciting composition projects complete the diverse concert programme. Composers from various musical genres have created works for the festival that will be premiered there.

The festival is not only aimed at a music-loving audience but is also a get-together for the Swiss and foreign music and event scene. SUISA, as a cooperative society of composers, lyricists and publishers of music, is once again one of the main partners of the festival, making music in Switzerland possible together with the Label Suisse.

Composition projects

The following compositions were created especially for the 2020 Label Suisse:

Jazz
Nik Bärtsch, composition and piano.
Project in partnership with the Zurich University of the Arts and the Jazzcampus Basel with the participation of young musicians.
Performance: Saturday, 19 September 2020, Salle Paderewski
Further concerts in the twin cities at the Klangbasel Festival (Basel) and at Moods (Zurich)

Classical music
Antoine Chessex, commissioned composition for great organ, chest organ and Hammond
Artists: Simone Keller and Dominik Blum
Project of 35 minutes duration, entitled “Technosphère & Fragmentation”.
Performance: Sunday, 20 September 2020, Eglise St Francois

Isabel Mundry, composition
Collegium Novum Zurich (CNZ) ; Brian Archinal, percussion solo
Title of the work: Noli me tangere (2020)
Performance: Saturday, 19 September 2020, Salle Paderewski

Cod.act – André et Michel Décosterd
“Von Roll Twist 4” – Installation for 6 speakers and one performer (Francesco Biamonte)
André et Michel Décosterd combine their skills, the first being a musician, composer and sound artist and the second an architect and visual artist. Together they develop an artistic work in the form of performances and interactive installations. Their approach starts with a reflection on sound and movement and their possible interaction.
Performance: Saturday,19 September 2020, D! Club

New traditional music
Michel Godard
Works composed especially for the occasion by Michel Godard, conducted by Pascal Emonet. Played by fanfare players of the Valais Brass Band and Jazz Conservatory in a little-known sound approach: the Italian Banda. This orchestra is accompanied by Michel Godard, Pierre Favre, Isa Wiss and Matthieu Michel.

Come along and experience how the sounds of completely new works are brought to an audience for the very first time.

www.labelsuisse.ch

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The ninth edition of the Label Suisse Festival will take place in Lausanne from 18 to 20 September 2020. Programming of this biennial festival is dedicated to the Swiss music scene with all its diversity. Special highlight: Artists from all genres have composed works especially for the Label Suisse. These works will be performed live at the festival for the first time. SUISA is once again involved as one of the main partners of the festival. Text by Erika Weibel

Label Suisse is unique to Switzerland: Every two years, the festival in Lausanne offers the public an insight into Swiss music creation – across geographical and genre boundaries – and thus highlights the current horizons of Swiss musicians of contemporary music from pop, rock, jazz, classical and new folk music in its...read more

How do you write a streaming success?

Tips and reflections on modern song structures by successful songwriters as well as other music industry representatives at the SUISA panel “How streaming is changing songwriting” in the course of the M4music festival on Saturday, 21 March 2020, at Moods. Text by Erika Weibel

M4music 2019 SUISA Panel Hit the World

KT Gorique, Laurell Barker and Shelly Peiken (f.l.t.r.) talking about songwriting at the SUISA panel “Hit the world / this is how international hit composers work” at the 2019 M4music festival. (Photo: Ennio Leanza / M4music)

Even the most creative songwriters go unnoticed if they are not able to get their music heard. In a highly competitive and oversaturated sector, songwriters need attract attention. They must stand out from countless other professional authors. Especially in the pop/urban genre, you must win over an audience whose listening behaviour is strongly influenced by music consumption via streaming services.

On the occasion of the SUISA panel at the 2020 M4music festival, successful songwriters are going to discuss with people from the music business what a song needs to sound like in order to satisfy the taste of the increasing streaming audience or to even win it over.

The SUISA panel “How streaming is changing songwriting” takes place on:
Saturday, 21 March 2020, between 1.45pm and 3.00pm in the Moods, Schiffbau in Zurich.

The big challenges of the new era

Spotify founder, Daniel Ek, said in April 2019 that nearly 40,000 tracks per day were uploaded to the Spotify platform. A projection of these figures would result in 280,000 songs per week, 1.2 million tracks per month and a whopping 14.6 million per year. To stand out from the masses is a huge challenge.

A potential springboard for songwriters could be to be included in a curated playlist. Songs in a curated playlist are grouped in order to appeal to a specific audience – this means more listeners, more “shares” and more income for the rights holders. It also entails a better chance that a song stands out to a “music supervisor”, i.e. People who look in those playlists for songs to be used in current TV and film productions. It is, however, only a small part of the published songs that manage to make it to the playlist.

Another new challenge brought about by streaming is also that music creators only get their royalties if their song has been streamed for 30 seconds. The listeners must, after all, not ‘bail out’ from listening too early, otherwise there’s no money. On top of that, the rule for radio or TV is: the longer the song the higher the income. In the case of streaming this is different: You get paid per stream.

How much do these new game rules affect composers? Will there only be short songs without intros that build them up and instead, catchy hook lines from the first beat? What role do song lyrics play today? How does a song need to sound in order to be included in a playlist?

Come to the SUISA panel and join our discussion!

SUISA- Panels at the 2020 M4music festival
“How streaming is changing songwriting”
Saturday, 21 March 2020, from 1.45pm to 3.00pm
in the Moods, Schiffbau in Zurich

Speaker:

  • Janine Cathrein, Singer Songwriter, Zurich
    Singer songwriter Janine Cathrein is a part of Black Sea Dahu. After publication of their successful debut album “white creators”, the band has been touring without interruption, they performed at 120 concerts in 2019 alone.
  • Julie Born, Managing Director Sony Music Entertainment Switzerland GmbH, Zurich
    Julie Born has been active in the Swiss music business for more than 30 years. In her position as Managing Director of Sony Music Switzerland, she and her team are responsible for establishing and building up artists in a variety of music fields.
  • Henrik Amschler, Producer Songwriter, Zurich
    Born in Zurich in 1989, he is known as HSA. He is a well-known Urban/Pop music producer and songwriter. He has contributed to various gold and platin productions and won prestigious awards (such as the Swiss Music Award as a songwriter) He produces Loco Escrito and Mimiks, among others.
  • Loris Cimino, producer and songwriter, Reinach AG
    The 22-year-old producer can already count more than 2.5 million streams in 2019, and that just on Spotify. He produces music of renowned artists and enjoys international success as a DJ with official remixes for artists such as David Guetta and Meghan Trainor. He is also co-writer of the official trailer for the current “America’s got talent” show.

Moderator: Nina Havel

www.m4music.ch

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Tips and reflections on modern song structures by successful songwriters as well as other music industry representatives at the SUISA panel “How streaming is changing songwriting” in the course of the M4music festival on Saturday, 21 March 2020, at Moods. Text by Erika Weibel

M4music 2019 SUISA Panel Hit the World

KT Gorique, Laurell Barker and Shelly Peiken (f.l.t.r.) talking about songwriting at the SUISA panel “Hit the world / this is how international hit composers work” at the 2019 M4music festival. (Photo: Ennio Leanza / M4music)

Even the most creative songwriters go unnoticed if they are not able to get their music heard. In a highly competitive and oversaturated sector, songwriters need attract attention. They must stand out from countless other professional authors. Especially in the pop/urban genre, you must win over an audience whose listening behaviour is strongly...read more

Intriguing insights and concerts at the Zeiträume Festival

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

Intriguing insights and concerts at the Zeiträume Festival

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

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

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

SUISA Talks at the Zeiträume Festival 2019

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

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

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

Festival Pavilion

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

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

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

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

www.zeitraeumebasel.com

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

Intriguing insights and concerts at the Zeiträume Festival

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

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

A career as a producer of electronic music?

In cooperation with SUISA and the association “Cultures électroniques”, the Electron Festival, music festival for electronic music in Geneva, is going to organise a discussion panel on Saturday, 04 May 2019. It is the objective of the panel to show composers which means and ways they have available in order to support them for their professional career. Text by Erika Weibel

Electron Festival: A career as a producer of electronic music?

Electron Festival: SUISA panel with networking event on Saturday, 04 May 2019, in Geneva: “A career as a producer of electronic music? A real challenge!” ((Photo: Electron Festival)

The path to success is often strewn with stones for composers and requires a lot of resilience. Numerous successful Swiss producers of electronic music have also had this experience.

In the course of the 2019 Electron Festival, the music festival for electronic music in Geneva, various music producers are going to talk about their careers at a public SUISA panel. During their discussions with those in charge of funding institutions as well as with experts from the music industry, they are going to screen specific support options and jointly analyse the current situation of electronic music in Switzerland. The main objective of the discussion panel is to inform composers on the existing support infrastructure and to follow up on the question whether the existing structures are sufficient.

The audience is cordially invited to contribute its own experiences to the discussion. Once the panel has ended, there is an informal drinks reception offering the audience the opportunity to continue the conversation with those in charge of funding institutions and the artists.

The SUISA panel at the Electron Festival 2019

“A career as a producer of electronic music? A real challenge!”
takes place with a drinks reception afterwards:
on Saturday, 04 May 2019, 4.00pm, at Crea, Rue Eugene Marziano 25, in Geneva

Panellists:
Dominique Berlie, Cultural Counsel, Service culturel (SEC) of the city of Geneva
Marius Käser, Pop music, Pro Helvetia
Albane Schlechten, Director FCMA, Antenne Romande Swiss Music Export
Manuela Jutzi, Co-Managing Director, Helvetia Rockt

Participating music creators:
Deetron
Garance
Ripperton
Opuswerk
Ramin & Reda
Honorée & Kaylee

Presentation: Anne Flament (RTS-Couleur3)

The Electron Festival shall take place between 25 April and 05 May 2019 in Geneva. Further information on the Festival can be accessed here: www.electronfestival.ch

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In cooperation with SUISA and the association “Cultures électroniques”, the Electron Festival, music festival for electronic music in Geneva, is going to organise a discussion panel on Saturday, 04 May 2019. It is the objective of the panel to show composers which means and ways they have available in order to support them for their professional career. Text by Erika Weibel

Electron Festival: A career as a producer of electronic music?

Electron Festival: SUISA panel with networking event on Saturday, 04 May 2019, in Geneva: “A career as a producer of electronic music? A real challenge!” ((Photo: Electron Festival)

The path to success is often strewn with stones for composers and requires a lot of resilience. Numerous successful Swiss producers of electronic music have also had this experience.

In the course of the 2019 Electron Festival, the music festival for electronic music in Geneva,...read more

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

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

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

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

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

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

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

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

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

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

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

Presentation:
Nina Havel, Zurich

www.m4music.ch

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

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

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

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

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

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

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

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

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

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

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

Well organised, interpreted and integrated

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

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

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

Katrin Frauchiger

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

Katrin Frauchiger, composer and singer, lecturer HSLU:

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

Irene Minder-Jeanneret

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

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

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

Kaspar Zehnder

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

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

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

www.murtenclassics.ch

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

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

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

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

Open for a new things at the Festival Murten Classics

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

Open for a new things at the Festival Murten Classics

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

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

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

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

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

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

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


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

25 August 2018

Event venue
The Kleintheater KiB (Kultur im Beaulieu)

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

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

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

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

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

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

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

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

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

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

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

www.murtenclassics.ch

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

Open for a new things at the Festival Murten Classics

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

The Festival Murten...read more

Swiss creations at Festival Archipel

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

Swiss creations at Festival Archipel

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

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

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

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

Swiss creations and international creations

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

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

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

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

Each musical effect has a meaning

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

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

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

Neue Vocalsolisten Stuttgart lived up to expectations

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

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

www.archipel.org

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

Swiss creations at Festival Archipel

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

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

The least...read more