Tag Archives: Music promotion

“Techno and ländler music are very closely related to each other”

Electronically processed everyday sounds are combined with elements of ländler music to create a new listening experience: this is what the double bass player and composer, Pirmin Huber, wants to develop and realise for his new project. The “Get Going!” grant is supporting him with this project. Text/interview by guest author Rudolf Amstutz

Pirmin Huber: “Techno and ländler music are very closely related to each other”

The Schwyz composer and double bass player Pirmin Huber. (Photo: Arthur Häberli)

The Schwyz composer and double bass player, Pirmin Huber, has been experimenting with new ways of combining Swiss folk music with other genres to create new sounds since he completed his jazz studies (majoring in composition) at the Lucerne University of Applied Sciences and Arts. Whether as a soloist or as a member of the “Ländlerorchester” (Ländler Orchestra), “Stereo Kulisse”, “Ambäck” or of the “Gläuffig” formation: Huber redefines folk music and blends it with techno, jazz, classical or electronic music. Now Pirmin Huber wants to conduct a type of “field recording” research with the help of electronically manipulated everyday noises and the folk music sounds of his double base and other instruments he plays. The whole thing should lead to a work that challenges our listening habits, thus reflecting the world at this extraordinary time.

Pirmin Huber, how did the idea for this project come about?
Pirmin Huber: I started out playing folk music, that is to say acoustic music, and I have increasingly delved into electronic music. By tinkering with new recording techniques, I have come up with ideas that I want to develop further. I grew up on a farm, and we also had a carpenter’s workshop there. I was as fascinated by the sounds of the saw as I was by all the other sounds, and I already tried to imitate them with my musical instruments at that time. In my “Get Going!” project, I start with the sounds I can create with my instruments, double bass, Schwyzerörgeli (an accordion first made in the canton of Schwyz), guitar, piano or Glarus zither, and combine them with typical everyday sounds that I make seem unfamiliar with the help of electronic music. Since my youth, I have been asking myself the following question: how can you make music from these sounds. Now I can afford quite a few tools, thus giving me the opportunity to get deeply involved with the project.

What comes first? The sound collection and then the composition or is it the other way around?
It’s a mixture of the two. New opportunities keep opening up while I work. It’s all part of the process. It’s important to me that I create a very specific mood with my music. The finished work will consist of several pieces that flow together or at least relate to each other. It could be described as a type of suite.

You shift from one style to the next with ease. As a double bass player, you always set the tone. Can connections or interfaces between folk music, classical music, jazz, pop, rock or techno be identified from this position?
Perhaps. In any case, techno and ländler music are very closely related genres. This may be difficult to understand from the outside (laughs), but the energy that comes from playing is the same for techno as it is for ländler music, which is after all also dance music. I think you first have to have played both to experience this common feature. In my project, I am trying to create a kind of modern ländler music with electronics and grooves.

Nature and urban life: do you get the inspiration you need from these conflicting elements?
I need both. As soon as one of them is no longer there, it feels like something is missing. That’s probably why it’s logical that I want to bring these two opposing poles together. I’ve had three strings to my bow for a long time: folk music, contemporary music and techno. However, I feel that they are one.

The “Get Going!” grant is intended to provide start-up financing without any result-related expectations. What do you think of this funding model?
I think it’s great! The freedom it gives us serves as motivation to really achieve something great. After all, I had conceived the idea for my project a long time ago, but then things kept getting in the way. And much ultimately depends on whether you can afford to execute such a project and also implement it without any stress. “Get Going!” allows me to do just that.

FONDATION SUISA started awarding new grants in 2018. Under the heading of “Get Going!”, creative and artistic processes that do not fall within established categories are given a financial jump-start. Each year, our Portrait Series profiles recipients of Get Going! funding.
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Electronically processed everyday sounds are combined with elements of ländler music to create a new listening experience: this is what the double bass player and composer, Pirmin Huber, wants to develop and realise for his new project. The “Get Going!” grant is supporting him with this project. Text/interview by guest author Rudolf Amstutz

Pirmin Huber: “Techno and ländler music are very closely related to each other”

The Schwyz composer and double bass player Pirmin Huber. (Photo: Arthur Häberli)

The Schwyz composer and double bass player, Pirmin Huber, has been experimenting with new ways of combining Swiss folk music with other genres to create new sounds since he completed his jazz studies (majoring in composition) at the Lucerne University of Applied Sciences and Arts. Whether as a soloist or as a member of the “Ländlerorchester” (Ländler Orchestra), “Stereo Kulisse”, “Ambäck” or of the “Gläuffig” formation: Huber redefines...read more

Erika Hug: Committed and combative

SUISA and FONDATION SUISA are mourning Erika Hug. The publisher and entrepreneur had been influencing the promotion of Swiss music creation for more than three decades, on the SUISA Board of Directors, as a co-founder of FONDATION SUISA and as the president of the foundation board. She passed away unexpectedly on 14 July 2021 at the age of 76. Obituary by Andreas Wegelin and Urs Schnell

Erika Hug: Committed and combative

Erika Hug (1945-2021). (Photo: FONDATION SUISA / Musik Hug)

The Swiss music scene is mourning the loss of Erika Hug, publisher and owner of the established and traditional music business. She passed away completely unexpectedly on 14 July 2021.

Erika Hug had taken on leadership of the renowned Zurich music company as a young woman in the sixth generation. Apart from traditional publishing and sheet music business, the company grew well in the 1980s and entered the new sales business with CDs at an early stage. With her husband, German music entrepreneur Eckard Harke, the sales of music instruments also saw a strong development. One speciality were the two Steinway Piano Galleries in Lausanne and Zurich.

The profound changes in the music business in the course of internet digitisation led to a decline in demand for sheet music, sound recordings or instruments after the turn of the millennium. The Swiss-wide branch network was reduced at the start of the 2000s and the company was finally sold in 2017.

Contribution at SUISA and FONDATION SUISA

Over many years, Erika Hug had been giving her know-how and experience as an entrepreneur to the Cooperative Society, SUISA and the FONDATION SUISA by way of being a member of the SUISA Board of Directors and of the Pension Board of the FONDATION SUISA. From 1985 to 1995, Erika Hug was a Board member of the Cooperative Society SUISA and President of their committee for international relations.

Erika Hug was a founder member of the SUISA foundation for music (today: FONDATION SUISA) in 1989. For 27 years, until the end of 2015, she had been a member of the Foundation Board. From 1990 onwards, Erika Hug first presided the Finance Committee of the Foundation, from 1996 onwards, she became Vice President. Finally, from 2005 she led the Foundation for 10 years as President of the Foundation Board.

Erika Hug had been a major influence on the Cooperative Society and the Foundation over the last 30 years as a publisher and expert in the music business sector. She got involved when it came to access to music and to playing an instrument, especially also with respect to the younger generation and less well-off members of society. The project “make music in the classroom” of FONDATION SUISA is a proof for this. Erika Hug was also a fighter for more women in music and in business.

We mourn a great Swiss personality when it comes to bringing music to the people, and we are grateful for her commitment in the managing committees of our Cooperative Society and Foundation and would like to express our heartfelt condolences to her family.

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  1. Ho avuto il piacere di lavorare con Erika Hug per 14 anni nel Consiglio di fondazione della Fondazione Suisa per la musica e, di questa donna, ho sempre apprezzato la chiarezza d’intenti nel promuovere la musica “Made in Switzerland”, la tenacia e le brillanti idee.
    Un’altra sua qualità che ho sempre apprezzato in lei era la capacità di saper mettere a proprio agio le persone, di saperle ascoltare e, se le idee che venivano proposte le sembravano buone, di impegnarsi nella realizzazione senza mai risparmiarsi.
    Di lei serberò sicuramente un buon ricordo.
    R.I.P. Erika

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SUISA and FONDATION SUISA are mourning Erika Hug. The publisher and entrepreneur had been influencing the promotion of Swiss music creation for more than three decades, on the SUISA Board of Directors, as a co-founder of FONDATION SUISA and as the president of the foundation board. She passed away unexpectedly on 14 July 2021 at the age of 76. Obituary by Andreas Wegelin and Urs Schnell

Erika Hug: Committed and combative

Erika Hug (1945-2021). (Photo: FONDATION SUISA / Musik Hug)

The Swiss music scene is mourning the loss of Erika Hug, publisher and owner of the established and traditional music business. She passed away completely unexpectedly on 14 July 2021.

Erika Hug had taken on leadership of the renowned Zurich music company as a young woman in the sixth generation. Apart from traditional publishing and sheet music business, the...read more

“Get Going!” goes into the fourth round

Since 2018, “Get Going!” has been a regular feature of the support portfolio of the FONDATION SUISA. Now the kick-off financing programme which promotes innovative creative approaches outside the usual “pigeonholes”, enters its fourth round. Text by FONDATION SUISA

Fondation Suisa: “Get Going!” goes into the fourth round

Last year’s recipients of “Get Going!” (Clockwise from the top left) Isandro Ojeda-García, OY, Réka Csiszér, Pirmin Huber. (Photos: Caio Licínio; Sash Seurat Samson; Romina Kalsi; Gian Marco Castelberg)

When invitations to tender for “Get Going!” were launched for the first time, in 2018, it was “a shot in the dark”, says Urs Schnell, Director of the FONDATION SUISA. Back then, the idea was to look ahead. “Instead of patting an artist on the back after the fact by awarding them a prize, we now invest the money available to us into the future instead.”

So far, four “Get Going!” contributions of CHF 25,000 each have been allocated three times. The unabated interest in this promotion process underlines the changing conditions that music creators find themselves in with respect to many issues. Since the kick-off financing is not linked to a result, it allows musicians to work free from financial and time-related pressures. “On the one hand, the environment over the last years has become more hectic, on the other hand, the pandemic has left many in a void. You can look at it from any which angle, the time factor has become a commodity that should not be underestimated”, explains Schnell.

Applications for “Get Going!” contributions until 30 August 2021

“Get Going!” is aimed at innovative and creative projects that are in danger of falling through the cracks in any conventional application system. FONDATION SUISA intends to move towards artists with “Get Going!”, says Schnell, and adds: “We want to move free creative thinking back into the centre of interest.”

From now on, creators, authors and musicians who can prove a clear relation to current music creation in Switzerland or Liechtenstein, can apply again for “Get Going!”. Four of those kick-off financing packages of CHF 25,000 each will be granted by an expert jury again this year. The deadline to submit applications is 30 August 2021.

In order to show what “Get Going!” actually offers in terms of opportunities, we are going to publish portraits of the recipients of last year’s “Get Going!” contributions on the FONDATION SUISA website and the SUISAblog over the next few weeks.

“Get Going!” on the website of FONDATION SUISA

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Since 2018, “Get Going!” has been a regular feature of the support portfolio of the FONDATION SUISA. Now the kick-off financing programme which promotes innovative creative approaches outside the usual “pigeonholes”, enters its fourth round. Text by FONDATION SUISA

Fondation Suisa: “Get Going!” goes into the fourth round

Last year’s recipients of “Get Going!” (Clockwise from the top left) Isandro Ojeda-García, OY, Réka Csiszér, Pirmin Huber. (Photos: Caio Licínio; Sash Seurat Samson; Romina Kalsi; Gian Marco Castelberg)

When invitations to tender for “Get Going!” were launched for the first time, in 2018, it was “a shot in the dark”, says Urs Schnell, Director of the FONDATION SUISA. Back then, the idea was to look ahead. “Instead of patting an artist on the back after the fact by awarding them a prize, we now invest the money available to us into the future...read more

Musikexport – quo vadis?

Covid-19, digitisation, climate crisis: Musikexport in extraordinary times. Experiences and thoughts on the subject by Marcel Kaufmann, responsible at FONDATION SUISA for its presence abroad and the export promotion.

Fondation Suisa: Musikexport – quo vadis?

Will there ever be a back to “normal” times? The Swiss joint exhibition stand at the jazzahead! Bremen 2019. (Photo: Marcel Kaufmann)

Since the internet revolution of the 90ies, the value creation on the music market shifted to a large part towards the live sector. Concerts became the most important income stream for many musicians. One of the consequences was that numerous showcase events were launched. Artists could perform in front of international experts during short live concerts. This was done in the hope that they would get bookings in bigger clubs or festivals or taken under contract by international agencies. Together with various partners, the FONDATION SUISA supports the export endeavours of the domestic creators. For many years, the foundation organises Swiss networking platforms at international conferences and events.

This well-functioning system of travel, performances and shaking hands was brought to an abrupt halt by the pandemic. It was more or less overnight that music creators lost a large portion of their income, and at the same time also their export paths.

What now? How can they bridge this period? And what would happen if the “normality” we all love so much is never to return?

FONDATION SUISA took part in many pilot projects last year, tested chat tools, supported showcase videos via streams and negotiated potential new subsidising avenues with event organisers and promoters. “An interesting experience”, “a welcome transitional solution”, but surely “no surrogate for a real live performance”: This is our verdict at the end of 2020, in conformity with a large group of music creators and event organisers.

“Networking via the internet is, to many, still a very strange concept.”

The pandemic entailed cancellations of practically all physical face-to-face music conferences and exhibitions in 2020. Some, like Midem or WOMEX tried to hold virtual events. Back then, the planning insecurity was still too high. It was impossible to even consider being able to organise concerts again in the near future. In line with this, promoters booked much less artists during such online events than for physical events with a face-to-face audience. The ambiance of a live concerts can also not be recreated on a 1:1 level. And networking via the internet is, to many, still a very strange concept.

The most recent virtually held jazzahead! in Bremen confirmed these findings to a large degree. Ok, so it was easier to establish contact among those accredited for participation via the internet than on heaving exhibition grounds. In the absence of a collective feeling, however, you soon turn into a lone fighter. The real success of the Swiss presence at the biggest jazz conference in the world this year will only emerge in a few weeks and after surveys and conversations. In the past, it was possible to draw conclusions on the last day of the conference.

The two Swiss live acts in the official showcase programme of the jazzahead! chose different approaches: The formation The True Harry Nulz performed live in Bremen in front of a handful of journalists which at least applauded after each song which could be heard in the live stream. The showcase of the Luzia von Wyl Ensemble, however, had been pre-produced without an audience in the Moods in Zurich and then streamed. The silence between the pieces and the lack of feedback leave the performers in a vacuum.

“We must constantly create new scenarios, remain open and critically assess our own impressions.”

Now that in the face of the vaccination campaigns there is finally a light at the end of the tunnel again, it would be easy to fall into a state of hopeful anticipation and do away with the online world as a pure temporary solution. In a time, however, where our entire work life is significantly changed by the digitisation, many questions arise: Is there possibly more export potential in the online world as previously assumed? Can we even afford the old “normal” in times of a global climate crisis which will survive each pandemic? A crisis which is going to have a lasting effect on generations of future music creators and take many opportunities away from them?

There are still no conclusive answers to all of these questions. The most important developments do not take place online but in our heads. And these developments take more time than the technological ones. Until then, we must constantly create new scenarios, remain open and critically assess our own impressions. The most important factor is: listen to the music creators. Because their art must find its way across the country borders, also in the future. For them, FONDATION SUISA will continue to actively monitor and influence the developments in the music export world.

New Get Going! Invitation to tender
For the fourth time, the FONDATION SUISA is going to launch an invitation to tender regarding Get Going! contributions at the end of June / beginning of July. More information regarding the kick-off financing for extraordinary projects can be found in good time on the website of the foundation: www.fondation-suisa.ch
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Covid-19, digitisation, climate crisis: Musikexport in extraordinary times. Experiences and thoughts on the subject by Marcel Kaufmann, responsible at FONDATION SUISA for its presence abroad and the export promotion.

Fondation Suisa: Musikexport – quo vadis?

Will there ever be a back to “normal” times? The Swiss joint exhibition stand at the jazzahead! Bremen 2019. (Photo: Marcel Kaufmann)

Since the internet revolution of the 90ies, the value creation on the music market shifted to a large part towards the live sector. Concerts became the most important income stream for many musicians. One of the consequences was that numerous showcase events were launched. Artists could perform in front of international experts during short live concerts. This was done in the hope that they would get bookings in bigger clubs or festivals or taken under contract by international agencies. Together with various partners, the...read more

“We want to prevent current projects from failing”

With “Keep Going!”, FONDATION SUISA is temporarily expanding its funding portfolio. Text by FONDATION SUISA

FONDATION SUISA Keep Going!

“Keep Going!” is intended to enable the Swiss music scene to continue its activities in times of crisis. (Photo: FONDATION SUISA)

FONDATION SUISA supports projects with a link to current Swiss and Liechtenstein music-making, explicitly the creation and distribution of repertoires. “That is our Foundation’s mission,” explains the Director, Urs Schnell, before adding: “However, we regularly review our portfolio and add new programmes if required.”

It is clear to Mr Schnell that as a result of the pandemic and the corresponding lockdowns, the daily lives of Swiss music makers have taken a dramatic turn for the worse in recent months. “We had to take action as a Foundation,” he says and is visibly delighted that the Board of Trustees quickly and unbureaucratically approved the flexibilisation of the funding programmes in the context of the Foundation’s mission.

“Keep Going!” is the name of the additional temporary funding model offered which – as Mr Schnell expressly points out – does not replace the existing offers but rather complements them. “Keep Going!” is intended to enable the Swiss music scene to continue its activities in times of crisis. “We are convinced that even during periods when cultural activities virtually come to a complete standstill, music makers need to find new ways of still being able to achieve the goals they have set for themselves,” says Mr Schnell. “And this concerns both the development of new musical works and their distribution.” The latter is underlined by the fact that the new funding model is not only reserved for individuals or groups but also includes organisations.

According to Mr Schnell, “Keep Going!” is intended to meet music makers and organisations exactly where they are currently at and enable them to adapt to the new circumstances if required: “With this funding, we want to contribute to ensuring that existing projects are not jeopardised.”

“Exceptional” or “unprecedented”, factors which play an important role in the “Get Going!” funding model launched three years ago, are not explicitly excluded but are not decisive for “Keep Going!”.

With “Keep Going!”, FONDATION SUISA underlines its top priority, which is to encourage creative ideas and enable them to be implemented – even in times of uncertainty and under challenging circumstances.

In April, the first tranche of CHF 5,000 will be awarded. “Then we will consider our options,” says Urs Schnell. “We will analyse all applications received and draw our conclusions from them.” The plan is to issue a call for applications for “Keep Going!” every two months.

Information on “Keep Going!” on the FONDATION SUISA website:
www.fondation-suisa.ch/en/work-grants/keep-going-2021/

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With “Keep Going!”, FONDATION SUISA is temporarily expanding its funding portfolio. Text by FONDATION SUISA

FONDATION SUISA Keep Going!

“Keep Going!” is intended to enable the Swiss music scene to continue its activities in times of crisis. (Photo: FONDATION SUISA)

FONDATION SUISA supports projects with a link to current Swiss and Liechtenstein music-making, explicitly the creation and distribution of repertoires. “That is our Foundation’s mission,” explains the Director, Urs Schnell, before adding: “However, we regularly review our portfolio and add new programmes if required.”

It is clear to Mr Schnell that as a result of the pandemic and the corresponding lockdowns, the daily lives of Swiss music makers have taken a dramatic turn for the worse in recent months. “We had to take action as a Foundation,” he says and is visibly delighted that the Board of Trustees...read more

The Zwahlen/Bergeron duo want to make the previously unheard audible – and visible

On the one hand, the centuries-old tradition of choral music and, on the other, the almost endless possibilities offered by electronic music. Jérémie Zwahlen and Félix Bergeron experiment in the area of tension between these two polar extremes with the aim of creating something completely new. The Get Going! grant is supporting them with this project. Text by guest author Rudolf Amstutz

The Zwahlen/Bergeron duo want to make the previously unheard audible - and visible

Félix Bergeron and Jérémie Zwahlen (Photos: Stephane Winter & Laura Morier-Genoud; Alain Kissling)

As is generally known, opposites attract. Jérémie Zwahlen and Félix Bergeron, both 33 years old, sit in a café in Lausanne, discussing their project to redefine the long tradition of choral music with the aid of electronic experimentation. Bergeron also uses the conversation about this project for a brainstorming session. Exactly as it should be for a drummer, when the rhythms become more complex, he accurately describes more and more options of how it would be possible to combine old and new, traditional and avant-garde. Zwahlen listens with stoic calm, from time to time making his own contribution with incisive sentences. He does not seem to be a stranger to this kind of dialogue. “Félix is like an extremely strong cigarette and I am the super-filter that is used to smoke it,” reckons Zwahlen and both of them laugh.

Actually, when they were young the two of them went to the same school near Lausanne, after which they went their separate ways. As early as when he was just six years old, Bergeron played the drums, but never found real fulfilment until he heard Lucas Niggli play a drum solo at the Willisau Jazz Festival. “As well as drums, he used electronic equipment. I was completely gobsmacked and knew that was what I wanted to do,” recalls Bergeron. Zwahlen, on the other hand, grew up in the brass tradition and was a trumpeter in a band, just like his father and grandfather before him. For her part, his mother sang in a choir. “At grammar school,” according to Zwahlen, “they told me I would make a good music teacher and that’s how I started my training.”

Choral and electronic music

They both attended the Haute École de Musique Lausanne (HEMU), “but I studied jazz and Jérémie classical music”, comments Bergeron, adding “which were in two different buildings.” The thing both of them didn’t know: their life partners were friends and they eventually met again at a party after many years. When Zwahlen then asked Bergeron to provide electronic support for “Chœur Auguste”, the choir he led, they arrived at the idea of a collaboration which was intended to go above and beyond the familiar and what people had heard before. “Needless to say, people have amalgamated choral music with electronics before,” says Bergeron, “but in those cases, the organ or piano was simply replaced by a synthesizer. That kind of thing doesn’t interest us.”

Both of them are predestined to tread new ground, and in their individual projects they were already scratching the stylistic limits and attempting to remap the musical landscape. With his incisive and conceptually unusual arrangements of the music of Elvis Presley, Johnny Cash, Camille and Queen, Zwahlen not only redefined the laws of choral music, but also regarded the choir in its entirety as one body: “The choir is like a sculpture that breathes and which you can work on. And Félix also works with vibrations you can feel physically. In the end, you must be able to literally feel the music.”

Music as sculpture

In fact, Bergeron is heavily influenced by the sculptural. Apart from his many projects ranging between abstract improvisation, folk, punk and jazz, he also works for the theatre and dance companies. In his “Brush Paintings”, chance results in visual art, in that he dips his drumming brushes in paint and equips his cymbals with canvasses. “In spontaneous work with electronics, it is also possible to work with arbitrariness. That interests me. I see countless possibilities there for breaking down the traditional forms of choral music.”

Music as sculpture, which should also reveal to the audience the secrets behind its creation. “We want the audience to see what is happening. How composition, chance, arrangements and improvisation all influence one another. The audience should be able to experience our project with all their senses,” is the way Zwahlen describes the starting point and stresses: “It is my obsessive desire to reprocess all music genres in such a way that they offer pleasure to everyone. Irrespective of whether we are dealing with classical music, folk, jazz or experimental music.”

They both think that there are so many musical, content-related and visual possibilities, with which you can experiment in such a project, and they emphasise just how important the factors of time and money are for such an undertaking. “Thanks to the grant from Get Going!, for the first time it became possible for us to tread new ground to such a great extent,” beams Bergeron.

Jérémie Zwahlen and Félix Bergeron: two people obsessed with music, who also pass on their enthusiasm to coming generations as teachers at HEMU and the Ecole de jazz et musique actuelle (EJMA) in Lausanne and – in the case of Bergeron – also at the Ecole Jeunesse & Musique in Blonay. Together they form the only cigarette in the world that is not damaging to health. Quite the opposite.

www.felixbergeronmusic.ch
www.choeurauguste.ch

FONDATION SUISA started awarding new grants in 2018. Under the heading of “Get Going!”, creative and artistic processes that do not fall within established categories are given a financial jump-start. Each year, our Portrait Series profiles recipients of Get Going! funding. The invitation to apply for 2020 expires at the end of August.

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«Get Going!» goes into the third round«Get Going!» goes into the third round «Get Going!» enables new perspectives: The idea of «Get Going!» is based on the philosophy of «making it possible». «Get Going!» consist of a start-up financing. Four such contributions of CHF 25 000.- each per year are advertised. Read more
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On the one hand, the centuries-old tradition of choral music and, on the other, the almost endless possibilities offered by electronic music. Jérémie Zwahlen and Félix Bergeron experiment in the area of tension between these two polar extremes with the aim of creating something completely new. The Get Going! grant is supporting them with this project. Text by guest author Rudolf Amstutz

The Zwahlen/Bergeron duo want to make the previously unheard audible - and visible

Félix Bergeron and Jérémie Zwahlen (Photos: Stephane Winter & Laura Morier-Genoud; Alain Kissling)

As is generally known, opposites attract. Jérémie Zwahlen and Félix Bergeron, both 33 years old, sit in a café in Lausanne, discussing their project to redefine the long tradition of choral music with the aid of electronic experimentation. Bergeron also uses the conversation about this project for a brainstorming session. Exactly as it should be for a drummer,...read more

Jessiquoi: having the freedom to reinvent yourself

Searching for her personal identity is the force that drives her creativity. It has enabled Jessica Plattner, alias Jessiquoi, to create a complete audiovisual work of art. The 31-year-old Bern resident says that she is brim full of ideas. Thanks to the Get Going! grant, there is no longer anything standing in the way of her goals. Text by guest author Rudolf Amstutz

Jessiquoi: having the freedom to reinvent yourself

Jessiquoi (Photo: Manuel Lopez)

“Once I am a grown-up, I would like to have a grand piano on stage,” says Jessica Plattner, laughing at her own turn of phrase. Needless to say, at 31 years of age, she has already been a grown-up for some time, but her statement also indicates that she sees herself as an artist on a path to further development that has not yet reached its end. And this is in spite of being one of Switzerland’s most impressive acts with her alter ego Jessiquoi. She composes and produces herself. She is responsible for the visuals, continually creating fantastic worlds, in which Jessiquoi reinvents, redefines herself with the aid of electro-sound environments that are sometimes aggressive, sometimes gentle.

“For me, identity is something that is fluid,” comments Jessica, quoting well-known drag queen, RuPaul: “You’re born naked. The rest is drag.” Then adding: “I believe that every person has the freedom to reinvent themself. Also, no justification is necessary if someone steers their life in a completely new direction. It is like in a video game, where each and every player can specify their own avatar.”

The quest for an identity is the creative driving force: in Jessica’s case, this has its roots in her extraordinary life-history. She was born in Bern. Shortly afterwards, her family emigrated to Australia. When she was a teenager, her father was offered a job at the Bern Conservatory, so the family moved back to Switzerland. This steered her still young career down other paths. Jessica had wanted to be a professional dancer and trained accordingly in Sydney. In addition, the Plattners spoke exclusively English at home. “If I had wanted to pursue my career as a dancer, I would have had to go to Rotterdam or Berlin. But I wanted to be with my family,” she says. “At the beginning, I felt like I was a foreigner in Bern and like I was being excluded. It was only when I started to speak the Bernese dialect that everything was suddenly OK.” The language came to her easily, her German teacher even giving her the nickname “tape recorder”, “because I could play back everything so perfectly,” she laughs.

Alternative existence

The search for her identity in this strange homeland then led her to music – with dance falling by the wayside. “We always had a piano at home, but I never touched it in the beginning. I’d had lessons for a short time, but I hated them. Then I suddenly started writing songs of my own every day,” is the way she describes her musical beginnings.

But if the loss of her familiar environment was not bad enough, seven years ago Jessica suffered the most painful stroke of fate that anyone could possibly imagine. Her brother, who was two years younger than her, died. “We shared everything and were often even mistaken for twins,” she says before explaining how her brother inspired her interest in the world of video games and film soundtracks.

And it was precisely in these worlds where you can reinvent yourself that Jessica found her new home as Jessiquoi. “You could say that Jessiquoi is a fictional character, but in truth she is actually a different version of me,” she says and adds: “This character can also scare you, because Jessiquoi does not inhabit our fixed system of clear gender roles and national identities.”

On her albums, she now tells us about these strange worlds, in which the valleys are contaminated, so people flee to the mountain tops, and where pilots are able to fly in the direction of a better existence. On stage, she brings about this alternative existence all by herself. She has electronic instruments and a command centre for the visual effects on a wooden cart and dances, playing the part of Jessiquoi as absolute ruler of the stage, which is a place of self-determination and constant repositioning. Jessiquoi creates a complete artwork that is impressive thanks to its uncompromisingness, and with which she has also already drummed up enthusiasm in Seville and New York.

The wooden cart – or “trolley” as she calls it – is like a Chinese harp, which she plays live, and is reminiscent of Chinese culture, for which she possesses great affinity. “In the language school, one of my Chinese friends got me interested in her culture. And once when I was in China – it was three o’clock in the morning in Shanghai – I wanted something to eat and there was this old lady with a wooden cart on which she was cooking food. This old cart in the middle of this great metropolis: that’s an image I will never forget. I wanted to be this woman,” she explains, chuckling.

Craft new songs

Self-determination with no ifs or buts, as well as the freedom to keep her own identity in a fluid state are things that Jessica sees as being essential for her art. “For me, the main job of an artist is to dream about the future of our civilisation anew or to make it visible, because this is what absorbs, analyses, criticises and reformulates the world and the people around them.”

Thanks to the Get Going! grant, nothing stands in the way of this exciting development. “I have had to finance myself by playing concerts, which meant I had less time to craft new songs. I now have my annual budget available at a stroke,” she beams. Where this journey ultimately leads her is totally open: “I don’t know what music I will be making tomorrow. It comes easily to me. But I will never let reasons of market strategy stipulate what my music must sound like. I am working on my identity. Me. Just me, nobody but me.”

www.jessiquoi.com

FONDATION SUISA started awarding new grants in 2018. Under the heading of “Get Going!”, creative and artistic processes that do not fall within established categories are given a financial jump-start. Each year, our Portrait Series profiles recipients of Get Going! funding. The invitation to apply for 2020 expires at the end of August.

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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. Read more
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Searching for her personal identity is the force that drives her creativity. It has enabled Jessica Plattner, alias Jessiquoi, to create a complete audiovisual work of art. The 31-year-old Bern resident says that she is brim full of ideas. Thanks to the Get Going! grant, there is no longer anything standing in the way of her goals. Text by guest author Rudolf Amstutz

Jessiquoi: having the freedom to reinvent yourself

Jessiquoi (Photo: Manuel Lopez)

“Once I am a grown-up, I would like to have a grand piano on stage,” says Jessica Plattner, laughing at her own turn of phrase. Needless to say, at 31 years of age, she has already been a grown-up for some time, but her statement also indicates that she sees herself as an artist on a path to further development that has not yet reached its...read more

Michel Barengo: sound collector and tinkerer outside the comfort zone

Soak up as much as possible and then process it. That is Michel Barengo’s creed. The 37-year-old Zurich resident will have nothing to do with any comfort zones and now, thanks to the Get Going! grant, can pursue his creative urges on the Japanese underground scene. Text by guest author Rudolf Amstutz

Michel Barengo: sound collector and tinkerer outside the comfort zone

Michel Barengo (Photo: Michel Barengo)

Cowbells, the bleating of goats, squeaky doors, cackling hens, the gentle rustling of the wind in the trees, police sirens or lapping water: there is nothing in the world of sound that would not be of interest to Michel Barengo. He is a tireless collector of sounds who has created a substantial audio library of all kinds of sounds in his home studio. “Just sit for ten minutes in a bus station with your eyes closed. It’s incredible what is going on there,” he beams and the passion of this sound architect is unmistakeable from the way his eyes light up.

Now, the 37-year-old Zurich resident is not only a tinkerer with a tendency to make his own music, but is also one of the most in-demand protagonists when it comes to soundtracks for video games or sound backdrops for the theatre. In 2016, he won the FONDATION SUISA prize for the best video game music. But such commissions are just one part of the work of this jack-of-all-trades, who promotes his distinct musical identity with clear ideas.

The skills he has developed enabling him to implement his creative ideas professionally are very impressive. At the age of five, he started playing the violin and drums and afterwards he played in various garage bands with his brothers. They played punk, metal and alternative rock. Influenced by Mr. Bungle and Fantômas, the projects of Californian singer Mike Patton, Barengo followed his path and inevitably discovered the music of New York experimental saxophonist, John Zorn. “Grand Guignol”, the album by Zorn’s band Naked City, was, without a shadow of a doubt, the most influential experience in the still young Michel Barengo’s life. In a primitive yet subtle manner, Zorn deconstructs and reconstructs the music at breathtaking speed and creates an explosive sound cloud that has never been heard before from countless tiny fragments.

“Zorn’s affinity with the Japanese underground led me to begin to take more and more of an interest in the grindcore and experimental scenes there. Bands like Ground Zero, Korekyojinn and Ruins with Tatsuya Yoshida on drums, as well as Otomo Yoshihide on turntables and guitar. That was decisive when it came to my own experimental pieces, ” explains Barengo. The influences in both of his band projects, the jazzcore trio Platypus and grind noise band Five Pound Pocket Universe(5PPU) must not be overlooked.

Professional training

The facts that Barengo can move with ease through his sound cosmos and can build bridge after bridge between his own artistic path and his commissions, over which he dances nimbly, are to do with his professional training. He trained as a jazz drummer at the Winterthur Academy for Modern Music (WIAM) and at the Zurich University of the Arts (ZHdK) he obtained his Master’s in composition for film, theatre and media.

Whether opulent sounds reminiscent of Hollywood for a video game, roughly honed small pieces with his band 5PPU or finely crafted sound sample collages with Platypus: Barengo’s eclecticism is invariably fed by his urge to create a completely distinctive aesthetic. One that denies predictions and will not allow the listener to get any peace, because behind every individual sound another one might be lurking which surprises, questions or totally remaps the path laid down beforehand at lightning speed.

A restless person

The nature of the work is also motivated by the character of its creator. “I’m a restless person,” comments Barengo about himself. “There is so much that interests me. I also get bored quickly. I simply have to try things. Ultimately, that’s what drives you: soak up as much as possible and then process it. I like extremes and lots of variety,” he says and then adds, laughing: “It’s probably all down to the fact that I heard ‘Grand Guignol’ when I was just 13. That’s what it did to me.”

Barengo only feels good when he goes out of his comfort zone. And his Get Going! project is also based on an area of tension with two extremes. It has to lead him to a place where tremendous creative tension in the discrepancy between tradition and modern has prevailed for centuries. Barengo’s love of the Japanese underground led him to visit this country around a dozen times and now he wants to get a three-part project going there. “I actually have in mind a project in three phases consisting of two periods of residency in Japan followed by one in Switzerland for reviewing the work and processing it further,” he explains. “Firstly, using improvisation sessions with the Tokyo underground scene, I would like to get to grips with Japanese traditional music and its integration into contemporary music. After this I will meet up with 12 Japanese musicians in 12 hotels, with whom I can record a track in one room consisting of noises I recorded in that particular hotel. And last but not least, back in Switzerland I will review all the material I recorded, archive it for future composition projects and process it for my personal sound library.” The thrill of anticipation about this is great and all thanks to being able to bring it to fruition with financial support from the Get Going! award. “My project doesn’t fit into any existing categories. It’s neither an album production nor a tour. And it’s not working in a studio either. As I follow my creative path, Get Going! frees me from all constraints and compromises. Quite simply ingenious!” he beams. And even though his journey now had to be delayed until next year due to the coronavirus: back at home, the sound collector and tinkerer is unlikely to lose his ideas quickly.

www.michelbarengo.com

FONDATION SUISA started awarding new grants in 2018. Under the heading of “Get Going!”, creative and artistic processes that do not fall within established categories are given a financial jump-start. Each year, our Portrait Series profiles recipients of Get Going! funding. The invitation to apply for 2020 expires at the end of August.

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«Get Going!» goes into the third round«Get Going!» goes into the third round «Get Going!» enables new perspectives: The idea of «Get Going!» is based on the philosophy of «making it possible». «Get Going!» consist of a start-up financing. Four such contributions of CHF 25 000.- each per year are advertised. Read more
Sampling and RemixesSampling and Remixes The articles about arrangements in the “Good to know” series have so far focused on “conventional” arrangements of musical works. Sampling and remixes are two additional and specific forms of arrangement. What rights need to be secured when existing recordings are used to produce a new work? What agreements have to be contracted? Read more
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Soak up as much as possible and then process it. That is Michel Barengo’s creed. The 37-year-old Zurich resident will have nothing to do with any comfort zones and now, thanks to the Get Going! grant, can pursue his creative urges on the Japanese underground scene. Text by guest author Rudolf Amstutz

Michel Barengo: sound collector and tinkerer outside the comfort zone

Michel Barengo (Photo: Michel Barengo)

Cowbells, the bleating of goats, squeaky doors, cackling hens, the gentle rustling of the wind in the trees, police sirens or lapping water: there is nothing in the world of sound that would not be of interest to Michel Barengo. He is a tireless collector of sounds who has created a substantial audio library of all kinds of sounds in his home studio. “Just sit for ten minutes in a bus station with your eyes closed....read more

Anna Gosteli: “I never know where things will take meˮ

Despite her outstanding training and commercial successes in a number of bands, Anna Gosteli hid her light under a bushel far too often.The 35-year-old resident of Solothurn is now stepping into the limelight and has found her too long-awaited musical identity, thanks to all of her many experiences. The 2019 Get Going! grant gave her the necessary financial independence. Text by guest author Rudolf Amstutz

Anna Gosteli: “I never know where things will take meˮ

Anna Gosteli (Photo: Manuel Vescoli)

Parts of a puzzle like mosaic pieces – before they are put together, they shimmer in all the colours under the sun, but: the full picture is just not there. The correct arrangement, the right sequence of events which gives the finished picture its identity, is missing. “Jack of all trades and master of noneˮ is the way Anna Gosteli describes the state of affairs in which she found herself for years. And this is despite how these individual parts of the puzzle can be seen or heard: piano lessons at the age of 7, then the clarinet, followed by the school choir. At home in the Vorarlberg region of Austria, her mother played the guitar and her father the saxophone. “Even as a child I came into contact with all sorts of musical genres, with golden oldies and pop songs, and in our house there were always instruments available to play.ˮ

At the age of 14, she moved to Switzerland. Yet another piece of the puzzle, followed by more new pieces at regular intervals. When she was 21, she joined the Basel-based art-pop collective, The Bianca Story. Nothing seemed to stand in the way of a stellar career. Appearances at the Deutsche Oper Berlin, recording at Abbey Road Studios in London, however: “In the beginning I was the timid one in the band,ˮ the 35-year-old comments today, quickly adding: “This was entirely something I felt myself, and had nothing to do with the guys in the band, who always treated me as an equal.ˮ In spite of Gosteliʼs international success, this extremely talented singer was always the second voice. Combined with her reserved nature, she was left with the feeling that there could be more to her than meets the eye.

Her liberation began when she attended the Jazz School in Basel. Composition with Hans Feigenwinter, singing with Lisette Spinnler and harmony lessons with Lester Menezes. She is able to laugh about it today, but “at that time I was moved to tears when an irritated Lester once again pointed out to me that what I was doing was boring. My singing tended to be ʼtoo sweetʻ.ˮ Ultimately, this love-hate relationship turned out to be an important driving force in her breaking out of fixed roles and listening to her inner voice. Slowly but surely, the parts of the puzzle that had been collected over the years seemed to be fitting together. A feeling of certainty grew that a bigger, more coherent picture was possibly hidden inside her.

Along with Fabian Chiquet of The Bianca Story, she founded Chiqanne. Working together, they created great pop songs with depth. “Suddenly, I was writing lyrics in German and standing at the very front of the stage.ˮ But the decisive step in completing the puzzle only appeared as a result of the album, “Dr Schnuu und sini Tierliˮ, with a collection of songs for children, and most importantly, for their parents as well. Like so many things in her varied career, this was not planned. “I never know where things will take me. But somehow that can also be a way of doing things,ˮ she laughs.

It happened at Christmas, when Anna, now the mother of a six-year-old son, was looking for presents for the children of her friends. “And because I was really short of money at that time, I wrote a song and gave each child a verse.ˮ After the song about “Poultryˮ, came “Biber (Beaver)ˮ, which she gave to the film composer, Biber Gullatz, by way of thanks for a stay in his Berlin apartment, when she was frequently cooperating with him on television film soundtracks. “Only then did the idea come to me of writing a collection of childrenʼs songs.ˮ

It was behind these actual songs that almost all of the musical experiences that Gosteli had gathered throughout her career were hiding, and which suggested that the puzzle would become part of a glittering oeuvre. Thanks to lots of humour, but also immense psychological depth, these songs show off Gosteliʼs talents as a lyricist, whilst the music – which she performed on stage in collaboration with guitarist, Martina Stutz, – reflects her stylistic journey from golden oldies to pop songs and ultimately jazz.

“Iʼm currently bursting with ideas,ˮ says Gosteli, who teaches singing at the Guggenheim in Liestal, as well as leading a “Female Band Workshopˮ for “Helvetiarocktˮ along with Evelinn Trouble.And, last but not least, she is starting to bring the puzzle nearly to completion in the newly established Kid Empress band. “At last,ˮ states Gosteli, “Iʼve found three musical kindred spirits. We make decisions together and without having to make any compromises.ˮ

The “Schnuuˮ and genre-crossing sound of Kid Empress already clearly indicate that the initial “Jack of all trades and master of noneˮ is being condensed into an independent identity. “The Get Going! grant gives me the necessary financial breathing space at just the right time to be able to immerse myself in this new, creative adventure.ˮ And at this point, she beams all over her face once more.

FONDATION SUISA started awarding new grants in 2018. Under the heading of “Get Going!ˮ, creative and artistic processes that do not fall within established categories are given a financial jump-start. Each year, our Portrait Series profiles recipients of Get Going! funding. The invitation to apply for 2020 expires at the end of August.

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«Get Going!» goes into the third round«Get Going!» goes into the third round «Get Going!» enables new perspectives: The idea of «Get Going!» is based on the philosophy of «making it possible». «Get Going!» consist of a start-up financing. Four such contributions of CHF 25 000.- each per year are advertised. Read more
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Despite her outstanding training and commercial successes in a number of bands, Anna Gosteli hid her light under a bushel far too often.The 35-year-old resident of Solothurn is now stepping into the limelight and has found her too long-awaited musical identity, thanks to all of her many experiences. The 2019 Get Going! grant gave her the necessary financial independence. Text by guest author Rudolf Amstutz

Anna Gosteli: “I never know where things will take meˮ

Anna Gosteli (Photo: Manuel Vescoli)

Parts of a puzzle like mosaic pieces – before they are put together, they shimmer in all the colours under the sun, but: the full picture is just not there. The correct arrangement, the right sequence of events which gives the finished picture its identity, is missing. “Jack of all trades and master of noneˮ is the way Anna Gosteli describes the state...read more

«Get Going!» goes into the third round

«Get Going!» enables new perspectives: The idea of «Get Going!» is based on the philosophy of «making it possible». «Get Going!» consist of a start-up financing. Four such contributions of CHF 25 000.- each per year are advertised. Text by FONDATION SUISA

«Get Going!» goes into the third round

The recipients of the “Get Going!” contributions 2019 (from top left to bottom right): Anna Gosteli, Michel Barengo, Jessiquoi, Félix Bergeron (Iynnu) and Jérémie Zwahlen. (Photos: zVg)

«Get Going!» should be accessible to as many musically creative people as possible. Musicians should be restricted as little as possible in their creative ideas.

«Get Going!» 2020: Call for applications

Application deadline: 31.08.2020

The call for applications is intended to be broadly open and deliberately avoids the usual categories of musical genre, age or project.

Applications may be submitted by authors and musicians who can demonstrate a clear connection with the current Swiss or Liechtenstein music making.

Please note that:

  • We will not accept any additional documents, neither in electronic form nor as hard copies
  • We shall neither engage in any correspondence nor give any information by phone about the selection procedure and the final decision
  • If necessary, the jury may request further information
  • The jury, consisting of four members of the Board of Trustees, will evaluate the applications and make the final selection. The substance and originality of the applicant’s submission will play a decisive role in the selection.

To apply:

You have until 31.08.2020 to fill out the online form below:

«Get Going!» 2020 application form

In the course of autumn 2020, the jury will consider the submitted dossiers. You will then receive feedback on your application.

www.fondation-suisa.ch/en/work-grants

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

Your email address will not be published.

«Get Going!» enables new perspectives: The idea of «Get Going!» is based on the philosophy of «making it possible». «Get Going!» consist of a start-up financing. Four such contributions of CHF 25 000.- each per year are advertised. Text by FONDATION SUISA

«Get Going!» goes into the third round

The recipients of the “Get Going!” contributions 2019 (from top left to bottom right): Anna Gosteli, Michel Barengo, Jessiquoi, Félix Bergeron (Iynnu) and Jérémie Zwahlen. (Photos: zVg)

«Get Going!» should be accessible to as many musically creative people as possible. Musicians should be restricted as little as possible in their creative ideas.

«Get Going!» 2020: Call for applications

Application deadline: 31.08.2020

The call for applications is intended to be broadly open and deliberately avoids the usual categories of musical genre, age or project.

Applications may be submitted by authors and musicians who can demonstrate a clear connection...read more