Tag Archives: Music festival

Composition in time and space

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

Composition in time and space

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

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

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

Composer panel

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

Free entrance – reservation required

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

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

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

The composers’ panel will be presented by SUISA.

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Marcel Oetiker: “I often get inspired when I am travelling” | plus videoMarcel Oetiker: “I often get inspired when I am travelling” | plus video At the Zurich station, Hardbrücke, trains rush past, screech in the bends, and groan when starting up and when braking. But Marcel Oetiker has not chosen this as a meeting point because such sounds inspire some artists to take a creative flight of fancy. Read more

 

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

Composition in time and space

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

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

Career and calling | plus video

How do I found and run an ensemble for contemporary music? Where do I get subsidies for my music projects from? What is the purpose of SUISA and Swissperform? How do I distribute my works via the internet? Impressions gathered during the first ever “Journée d’orientation professionelle” at the Festival Archipel 2017. Text, photo and video by Manu Leuenberger

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

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

Career and calling | plus video

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

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

www.archipel.org, festival website

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How do I found and run an ensemble for contemporary music? Where do I get subsidies for my music projects from? What is the purpose of SUISA and Swissperform? How do I distribute my works via the internet? Impressions gathered during the first ever “Journée d’orientation professionelle” at the Festival Archipel 2017. Text, photo and video by Manu Leuenberger

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

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

Archipel Festival: Rendez-vous with contemporary music

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

Archipel Festival: Rendez-vous with contemporary music

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

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

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

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

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

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

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

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

www.archipel.org, festival website

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

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

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

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

Archipel Festival: Rendez-vous with contemporary music

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

Marc Texier, the 26th occurrence of the Archipel Festival...read more

La Tessinoise: Much ado about the Ticino

Over the Easter period, it’s not just the palm trees and nice weather that make the Ticino attractive: Over a three-day period, you can get a good impression of what the Indie-Pop-/Rock scene has on offer in the Ticino. Text by Erika Weibel

La Tessinoise: Much ado about the Ticino

Barbara Lehnhoff (left) and Aris Bassetti (right) are mainly music creators and known for their projects Peter Kernel and Camilla Sparksss. Apart from that, they have their own label, On the Camper Records, and organise the festival La Tessinoise. (Photo: Robert Huber)

Last year, Ticino label On the Camper Records celebrated its tenth anniversary with a festival. For the celebrations, label founders Aris Bassetti und Barbara Lehnhoff invited music professionals from across Europe and organised several concerts in the Lugano area. The festival and the get together of music business and artists proved to be so successful that the organisers decided to continue the event under the name “La Tessinoise”.

As a consequence, many bands will enter the stages at various event venues around Lugano again this year, between 14 and 16 April 2017. While music creation in the Ticino takes the ‘centre stage’ in terms of focus, acts from other Swiss regions and from abroad are also set to perform. One thing that distinguishes this festival is that all bands will play new repertoire. Every evening, the audience will thus be able to listen to the première of new songs.

If you wish to enjoy some Indie music in Switzerland’s ‘sunny parlour’ and also want to meet people from the music business from all across Europe on an informal basis, you will have an excellent opportunity to do so in Lugano.

Further information:
Concert programme, tickets etc.: www.latessinoise.com, festival website
Website of the On the Camper Records label: www.onthecamper.com

SUISA and FONDATION SUISA, SUISA’s foundation for music promotion, support the Festival La Tessinoise. On Saturday, 15 April 2017, at 10:30, SUISA holds a brunch during the festival – access is by invitation only.

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“Nothing, nothing at all beats a well-written song”“Nothing, nothing at all beats a well-written song” The international success with Bonaparte is the current highlight of the long-term songwriter career of Tobias Jundt. He penned several hundred titles, spanning a wide stylistic variety, even for or together with other artists. Born in Berne, and now living in Berlin, the composer passes on his knowledge and experience as a guest lecturer at the Zürcher Hochschule der Künste (Zurich University of the Arts) in the subject “songwriting”. An interview with the SUISA member who has been nominated for the Grand Prix Musik in 2016 and performs with his new formation, Mule & Man, at the Festival Label Suisse in Lausanne. Read more

 

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

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Over the Easter period, it’s not just the palm trees and nice weather that make the Ticino attractive: Over a three-day period, you can get a good impression of what the Indie-Pop-/Rock scene has on offer in the Ticino. Text by Erika Weibel

La Tessinoise: Much ado about the Ticino

Barbara Lehnhoff (left) and Aris Bassetti (right) are mainly music creators and known for their projects Peter Kernel and Camilla Sparksss. Apart from that, they have their own label, On the Camper Records, and organise the festival La Tessinoise. (Photo: Robert Huber)

Last year, Ticino label On the Camper Records celebrated its tenth anniversary with a festival. For the celebrations, label founders Aris Bassetti und Barbara Lehnhoff invited music professionals from across Europe and organised several concerts in the Lugano area. The festival and the get together of music business...read more

20 years M4music – with SUISA in the midst of it

Over the last 20 years, the M4music festival has become an important get-together of the Swiss Pop music sector. In 2017, its anniversary, the festival offers numerous networking opportunities, information events, evening concerts as well as a showcase stage for young Swiss talents. Such a variety of activities enables the audience to catch a broader, sophisticated glimpse into current music affairs. Text by Erika Weibel

20 years M4music – with SUISA in the midst of it

More than 700 songs were sent in for the Demotape Clinic 2016. Veronice Fusaro (picture) were awarded the main prize “Demo of the Year”, and the “FONDATION SUISA Award” in the category Pop for the song “Come To Naught”. (Photo: Alessandro Della Bella)

SUISA has been involved in the M4music festival for years now. 2017 marks another year where music creators can benefit directly from the expert knowledge of SUISA staff members, and network during the annual ‘Professional-Apéro’ drinks. On top of that, SUISA supports the ‘Showcase Stage’ where Swiss newcomers can present their music to the festival audience.

FONDATION SUISA, SUISA’s charitable foundation for music promotion, is the main partner of the well-established Demotape Clinic, which takes place in the course of the M4music festival. The “FONDATION SUISA Awards” are granted to the best Rock, Pop, Urban and Electronic songs from among the submitted demos. Furthermore, the main prize “Demo of the Year” is awarded together with the Migros-Kulturprozent [Migros ‘Culture Percentage’]. The award show takes place on Saturday, 1 April 2017 at 7.00 pm in the ‘Box im Schiffbau’. At the same event, FONDATION SUISA, the Solothurn Filmtage (‘Film days’), and M4music jointly award prizes for Best Swiss Video Clips 2017.

All information events and performances on the Showcase Stage are free of charge for the audience.

Panels at M4music 2017 with SUISA participation

Friday, 31/03/2017, 14:45, Matchbox
Copyright Debate: Sampling, Remix, Mashup

Samples and remixes can be found all around in the music sector. Nevertheless, this issue often leads to emotional discussions and also triggers the question among professional musicians: What’s allowed, and what isn’t? Where do I have to obtain rights, from whom and when? Questions which have become acute again in the digital age. Can the current copyright legislation provide topical answers? The panel will be presented by SUISA.

Saturday, 01/04/2017, 17:45, Matchbox
Blockchain: More than a hype?

Blockchain is the technology watchword of the day. No other topic inspires the imagination of entrepreneurs, investors and IT strategists more than the concept borrowed from Bitcoin, the digital currency. The financial sector attributes the potential to the Blockchain that it could fundamentally change entire commercial sectors. The Blockchain allows for tamper-proof transactions at cyberspeed without intermediaries. This topic has also caused ripples in the music industry: Income could then be distributed automatically among rights owners and the balance of power in the music industry could shift dramatically. But how exactly does Blockchain work? At the event entry-level knowledge will be conveyed and discussions will be held about the opportunities and challenges for musicians and collective management organisations. Andreas Wegelin, CEO of SUISA, will be a contributor to this discussion at the event.

www.m4music.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.

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Over the last 20 years, the M4music festival has become an important get-together of the Swiss Pop music sector. In 2017, its anniversary, the festival offers numerous networking opportunities, information events, evening concerts as well as a showcase stage for young Swiss talents. Such a variety of activities enables the audience to catch a broader, sophisticated glimpse into current music affairs. Text by Erika Weibel

20 years M4music – with SUISA in the midst of it

More than 700 songs were sent in for the Demotape Clinic 2016. Veronice Fusaro (picture) were awarded the main prize “Demo of the Year”, and the “FONDATION SUISA Award” in the category Pop for the song “Come To Naught”. (Photo: Alessandro Della Bella)

SUISA has been involved in the M4music festival for years now. 2017 marks another year where music creators can benefit directly from the expert knowledge...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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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

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

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

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

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

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

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

Current financial year satisfactory so far

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

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

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

Sponsoring involvement planned for the classical music sector

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

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

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

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

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

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

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

This beating heart

On Tuesday, 25 October 2016, in the evening, his heart stopped beating: Pädu Anliker, the “Master of Ceremony” in the Café/Bar Mokka Thun was 59 years old. For over 30 years, Beat “Pädu” Anliker shaped the venue which started out as a youth centre at the Waisenhausplatz and became one of the most renowned music clubs on Allmendstrasse in Switzerland. Obituary by guest author Christoph Trummer

This beating heart - Obituary Pädu Anliker

Under the leadership of the “Master of Ceremony”, an important concert venue was created in the form of the Café/Bar Mokka in Thun: Pädu Anliker shown in a photo taken on 07 April 2015. (Photo: Chris Iseli / az Aargauer Zeitung)

Since Pädu Anliker’s passing on became known, a wave of emotional obituaries and remembrances of the MC and his incomparable club swept through the internet. The music scene became one family: We have lost our extravagant and controversial favourite uncle. He never cozied up to us, sometimes he scared us, but his incessant work, his cordial hospitality and his confusing and fascinating authenticity were proof enough for how strongly and wildly his heart was beating for us and for the music. Against all the odds, his culture programme never had to make place for a more lucrative party, and with his Festival am Schluss, he placed relevant and often non-conformist music into the middle of a conservative summer in the city.

I was 15 when our band had its first gig outside a school hall during the Mokka-Regionaltonwoche (Mokka regional sound week). 12 years after my first performance there, many Mokka concerts later, I have received my first compliment from MC Anliker. This is how long I was given another chance. Me and so many other musicians from the Oberland, whom he provided with time, a stage and critical input for their development.

Yet Pädu’s Mokka was more than just a music club to us. Generations of people from the Oberland region with a lust for life found a home in this youth centre which was independent from the authorities. The MC influenced the education of our hearts: He was the living proof for self-fulfilment as self-development. “Respect” was written across the entrance. Quiet, when the band is playing! Stop smoking seeds! He argued that 80 Francs for fresh flowers provided a bigger de-escalation than 800 Francs for security.

When it came to his customers and his city, he also never cozied up to anyone. In his legendary programme forewords, he sometimes raged against “3,600 fuckthistown-Thun”, against a consumption-driven audience, without regard for the bourgeois orthography or current marketing rules, which is why we feared as long as 20 years ago that he might stop doing his thing.

But he didn’t. The MC, you could say, simply worked with an open valve. You just had to be prepared for that, even as a performing band. He once swore for a quarter of an hour about the fact that we didn’t just want to use the drums with two microphones, yet at the end of those 15 minutes, everything was miked up. After a great gig we sat backstage, holding a rather relaxed discussion about the types of potatoes in Switzerland. Later on, his eyes lit up when he pulled out a box with flyers and tapes showing us how the entire music prominence from the Oberland had, at some point in time, started their career in some giddy band with an awful name in the Mokka.

Even the city of Thun has made peace with its inconvenient original: On 1 November, MC Anliker would have been awarded the Thunpreis (Award of the city of Thun). And while we will continue to wish he was still there, his heart will keep beating, in his unique club, in our hearts and our music, for which he did so much and where his work left such deep marks. Thank you MC! Respect.

Beat “Pädu” Anliker shaped the Lokal Café/Bar Mokka in Thun (BE) for more than 30 years, throughout its transformation from a youth centre at the Waisenhausplatz to one of the most renowned music clubs on Allmendstrasse in Switzerland. Anliker, with his flamboyant make-up and his glamorous-unconventional fashion was also a city original of Thun. Thousands of national and international bands have played in the Mokka, and some chose Pädu as their event organiser for Thun, when the club had become far too small for them (Element Of Crime, ZüriWest, Patent Ochsner etc.). Over the last 11 years, he has also organised the Festival am Schluss on the Mühleplatz, where bands from all over the world performed for two weeks, from African desert blues to Swiss-German hip hop. Beat Anliker died at the age of 59 because of a cardiac arrest on 25 October 2016. On 1 November 2016, he will be awarded posthumously with the Thunpreis, the most important award granted by the city of Thun.

Guest author Christoph Trummer was born in 1978 and grew up in Frutigen (BE). He has been a member of SUISA since 2002. The singer-songwriter is, apart from his musical activities, also President of the Verein Musikschaffende Schweiz – the Association for creatives in Switzerland.

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  1. Waedi Gysi says:

    Merssiviumal Trummer!
    Schöner Text!

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On Tuesday, 25 October 2016, in the evening, his heart stopped beating: Pädu Anliker, the “Master of Ceremony” in the Café/Bar Mokka Thun was 59 years old. For over 30 years, Beat “Pädu” Anliker shaped the venue which started out as a youth centre at the Waisenhausplatz and became one of the most renowned music clubs on Allmendstrasse in Switzerland. Obituary by guest author Christoph Trummer

This beating heart - Obituary Pädu Anliker

Under the leadership of the “Master of Ceremony”, an important concert venue was created in the form of the Café/Bar Mokka in Thun: Pädu Anliker shown in a photo taken on 07 April 2015. (Photo: Chris Iseli / az Aargauer Zeitung)

Since Pädu Anliker’s passing on became known, a wave of emotional obituaries and remembrances of the MC and his incomparable club swept through the internet. The...read more

Label Suisse 2016: 70 Künstler, 7 Bühnen und 100 000 Zuschauer

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Rückschau auf das Festival M4music 2016 aus SUISA-Sicht

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