Tag Archives: Music promotion

Attendance at IKF opens up new prospects for Swiss musicians

The FONDATION SUISA and Pro Helvetia presented their joint stand under the banner “Swiss Music” for the first time at the 31st Internationale Kulturbörse in Freiburg, Germany. The results have been positive. Text by Urs Schnell, FONDATION SUISA

FONDATION SUISA: Attendance at IKF opens up new prospects for Swiss musicians

Mich Gerber appears at the 2019 Internationale Kulturbörse Freiburg. (Photo: Marcel Kaufmann)

Last year, the Internationale Kulturbörse Freiburg (IKF) celebrated its 30th anniversary with a Swiss focus. The FONDATION SUISA went along to see whether the most important trade fair in the German-speaking region for stage production, music and events would be the right place for Swiss musicians to be represented. There were repeated suggestions from the music scene that this could give rise to new performance opportunities on German stages and in small venues.

For years, the FONDATION SUISA has been involved in foreign music showcase festivals and music trade fairs, with the aim of promoting networking between the domestic music scene and international promoters and agencies. Following an in-depth assessment of the IKF’s potential, it thus seemed an obvious choice to implement the successful concept of a joint Swiss stand from 20 to 23 January this year in Freiburg for the first time.

Over the three days, the “Swiss Music” stand – in collaboration with Pro Helvetia – allowed artists and their agencies to connect with the vibrant promoter scene and, in particular, to meet promoters who operate outside the usual music network. Exchange with the Swiss music scene could especially open up new prospects for small theatres relying on a varied programme of fringe events.

Our joint stand allowed musicians and agencies to present themselves to a wide audience without having to hire their own expensive stand, allowing them to take maximum advantage of the IKF as a communication platform, marketplace and a place for development. Many saw the fact that IKF is not merely a music trade fair as a positive, offering potential new ground. Having the ‘Swiss Music’ stand right next to the entrance to the adjoining performing arts and street theatre hall was a major boost to visibility.

A wide array of extraordinary figures also appeared live on stage, with performances from Mich Gerber, Gina Été, the Postharmonic Orchestra, Moes Anthill, Bruno Bieri and Park Stickney.

Initial feedback on the first Swiss presence in Freiburg has been extremely positive. As a key meeting point for small and mid-sized stage productions in the German-speaking region, the IKF will also open up new opportunities for Swiss musicians in future.

For more information, please visit:
ikf.swissmusic.ch and www.fondation-suisa.ch/ikf

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The FONDATION SUISA and Pro Helvetia presented their joint stand under the banner “Swiss Music” for the first time at the 31st Internationale Kulturbörse in Freiburg, Germany. The results have been positive. Text by Urs Schnell, FONDATION SUISA

FONDATION SUISA: Attendance at IKF opens up new prospects for Swiss musicians

Mich Gerber appears at the 2019 Internationale Kulturbörse Freiburg. (Photo: Marcel Kaufmann)

Last year, the Internationale Kulturbörse Freiburg (IKF) celebrated its 30th anniversary with a Swiss focus. The FONDATION SUISA went along to see whether the most important trade fair in the German-speaking region for stage production, music and events would be the right place for Swiss musicians to be represented. There were repeated suggestions from the music scene that this could give rise to new performance opportunities on German stages and in small venues.

For years, the FONDATION SUISA has been involved in foreign music...read more

“Get Going” contributions and “Carte Blanche” awarded for the first time

As part of its new funding policy, FONDATION SUISA made four “Get Going!” and one “Carte Blanche” grants for the first time. A “Get Going!” start-up funding of CHF 25,000 each is allocated to Beat Gysin, Bertrand Denzler, Michael Künstle and the Duo Eclecta. The “Carte Blanche” amounting to CHF 80,000 is bestowed to Cécile Marti. Text by FONDATION SUISA

FONDATION SUISA: “Get Going” contributions and “Carte Blanche” awarded for the first time

Composer Cécile Marti is awarded the «Carte Blanche» of FONDATION SUISA which is allocated every two years. (Photo: Ingo Höhn)

As part of its new funding policy, FONDATION SUISA intends to react quickly to the fast-changing music scene. In the “inbetween” area, i.e. away from common genre, age or project categories, creative and artistic processes take place which threaten to end up in no man’s land when it comes to the current application process.

As a consequence, four “Get Going!” contributions with CHF 25,000 each have been offered as awards in June, for the first time. “With this annual bidding process, we try to locate creative places and artistic visions which deserve to be funded” said Urs Schnell, FONDATION SUISA MD. “As a consequence, the competition is kept open deliberately.”

With more than 90 bids, the “Get Going!” contributions have had an enormous response among music creators. “The expert jury hasn’t made it too easy for itself to select four recipients from the many highly interesting bids”, Schnell adds. From the description of the artistic purposes that are now funded, it is easy to gauge what this type of start-up funding actually is all about. “At the end of the day, music is about discovering new worlds time and again, to render items audible and tangible and to fathom new perspectives” according to Schnell.

“Get Going!” contributions 2018

The composer Beat Gysin, for example, creates architectonic spaces in the course of his “Leichtbautenreihe” (series of light structures), where unusual audio situations enable the listener new ways to perceive music. Gysin thus investigates the dynamic possibilities resulting from the relationship between space, music and the recipient/listener.

“Space” is also a concept that Michael Künstle is interested in. The composer of film and concert music pairs orchestral tradition with modern innovation in terms of composition and recording in order to create a space composition which becomes accessible in the form of a three-dimensional listening experience.

Saxophonist and composer Bertrand Denzler, on the other hand, locates new compository possibilities via a deliberate non-allocation of his creations to spaces. With a “migrating residence”, he attempts an improvisatory and compository exchange with foreign cultures. The constant dialogue with ever-changing influences is intended to show the way which eventually flows into compository results.

Andrina Bollinger and Marena Whitcher, aka Duo Eclecta, are strolling through interdisciplinary terrain. The singers, performers, multi-instrumentalists, producers and composers collaborate continually with other art forms in order to create new audible, visible and sensible worlds of experience.

“Carte Blanche” to Cécile Marti

The “Carte Blanche amounting to CHF 80,000 which is not offered as part of a bidding process but directly awarded by an expert jury every other year, is intended to enable music creators to focus on their artistic progress without suffering from financial pressures.

Those who have followed the creative career of Cécile Marti over the last years know that the artist originating from Zurich is a worthy recipient of this “Carte Blanche”. Especially her orchestra cycle, “Seven Towers” in 7 parts and for 120 musicians, which had its première concert performed by the SOBS orchestra in Biel in 2016, and has since its inception also been performed by the Berne Symphony Orchestra, the Geneva Camerata and the Basel Sinfonietta, has caused a sensation.

Simultaneously, Marti graduated with a dissertation on musical time course. The “Carte Blanche” now enables her to transfer her initial research in this area into an artistic context. Explored courses of time shall be made visible with the aid of a ballet and by way of sculptures (Marti is also a stone sculptor).

www.fondation-suisa.ch

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As part of its new funding policy, FONDATION SUISA made four “Get Going!” and one “Carte Blanche” grants for the first time. A “Get Going!” start-up funding of CHF 25,000 each is allocated to Beat Gysin, Bertrand Denzler, Michael Künstle and the Duo Eclecta. The “Carte Blanche” amounting to CHF 80,000 is bestowed to Cécile Marti. Text by FONDATION SUISA

FONDATION SUISA: “Get Going” contributions and “Carte Blanche” awarded for the first time

Composer Cécile Marti is awarded the «Carte Blanche» of FONDATION SUISA which is allocated every two years. (Photo: Ingo Höhn)

As part of its new funding policy, FONDATION SUISA intends to react quickly to the fast-changing music scene. In the “inbetween” area, i.e. away from common genre, age or project categories, creative and artistic processes take place which threaten to end up in no man’s land when it comes to the current application...read more

Strong together

22 June 2018: it’s that time of the year again. As a member of the Cooperative Society SUISA entitled to vote you will be able to decide on the future of your copyright society and to take stock with respect to the past business year at the General Assembly in the Bierhüebli in Bern. By Andreas Wegelin, CEO

Strong together

Voting at SUISA’s General Assembly: The umbrella of the co-operative joins the collective weight of authors’ and publishers’ votes. (Photo: Juerg Isler, isler-fotografie.ch)

Cooperative societies are usually alliances of persons or institutions who have the same or similar goals and interests. The idea behind such associations is as simple as it is effective: Together, we are strong! Economic, social or cultural issues that are presented in a unified manner often gain more momentum and impact than just the voice of an individual.

As your Cooperative Society for authors and publishers of music, we can support your interests. The main objective is to generate fair conditions and guarantee a fair remuneration for music creators. Collective management of rights has become an ever more significant aspect: These days, SUISA negotiates with some corporations which act globally. The market power of such negotiation partners may only be faced with the support and strength of a unified community.

Under such circumstances, it is even more positive that 2017 has been the best year in SUISA’s history from a financial perspective. An overall amount of CHF 131.4m in copyright remuneration can be paid out to rightsholders and sister societies. That is more than ever before.

SUISA annual results: online usage of music exceeds physical formats for first timeSUISA annual results: online usage of music exceeds physical formats for first time
Authors and publishers of music will receive CHF 131.4 million from SUISA this year. Last year the collecting society received CHF 150 million in copyright from domestic and international sources – CHF 2.9 million more than the previous year. In particular, reimbursements from private copying and the online sector contributed to this growth. For the first time, revenues from online music recordings exceeded those from sales of physical formats. But there is still a pressing need for action in the area of streaming. The internet platforms continue to benefit almost exclusively from this growth market, rather than composers, lyricists and publishers of music. Read more

During the coming GA, a revision of SUISA’s Articles of Association is planned for ratification. This has become necessary because a Directive at EU level has been passed with new provisions, especially regarding the transparency of our work. And this is something that affects SUISA, too: SUISA is responsible for Liechtenstein and operates for online usages on an European market level.

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During the GA, you are also going to have the oppoertunity to meet the President of Swissperform. She is going to report on the cooperation among the Swiss collective management organisations.

Why SUISA members should also consider joining SWISSPERFORMWhy SUISA members should also consider joining SWISSPERFORM
Composers and lyricists who are SUISA members and are also active as artists and/or producers and whose performances are broadcast by Swiss or foreign radio and TV channels are entitled to receive a remuneration from SWISSPERFORM. For all those authors-composers-artists/producers, a membership with SWISSPERFORM is thus a necessary addition to their SUISA affiliation in order to safeguard their rights and the full remuneration they are entitled to. Read more

FONDATION SUISA also has got some news on its support activities, and its foundation Director is going to elaborate on that. Finally, the ongoing copyright law revision is expected to be a topic for discussion, since hearings took place among the parliamentary committees last April and May.

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Copyright law revision: work starts in the parliamentary committeesCopyright law revision: work starts in the parliamentary committees
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All of these topics will be covered by our SUISAblog and SUISAinfo, one of which you are currently reading. Of course, you’ll find out more information and more details if you travel to the GA in Bern. I look forward to welcoming as many of you as possible in person then.

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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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22 June 2018: it’s that time of the year again. As a member of the Cooperative Society SUISA entitled to vote you will be able to decide on the future of your copyright society and to take stock with respect to the past business year at the General Assembly in the Bierhüebli in Bern. By Andreas Wegelin, CEO

Strong together

Voting at SUISA’s General Assembly: The umbrella of the co-operative joins the collective weight of authors’ and publishers’ votes. (Photo: Juerg Isler, isler-fotografie.ch)

Cooperative societies are usually alliances of persons or institutions who have the same or similar goals and interests. The idea behind such associations is as simple as it is effective: Together, we are strong! Economic, social or cultural issues that are presented in a unified manner often gain more momentum and impact...read more

New support strategy: “We want to look ahead”

FONDATION SUISA reinforces its activities regarding the support of music in Switzerland and the Principality of Liechtenstein: Each year, four music projects shall be launched under the motto “Get Going!”, and every other year, a bigger amount shall be allocated to works under the slogan “Carte Blanche”. Text by FONDATION SUISA

FONDATION SUISA - New support strategy: “We want to look ahead”

With its revised support policy, FONDATION SUISA intends to locate new creative places and push new projects forward where music creators can exercise their creative ideas in the most unrestricted way possible. (Photo: Alberto Andrei Rosu / Shutterstock.com)

The Foundation Council of the FONDATION SUISA decided to reorient one part of its support policy and to open it up to new perspectives. By way of these actions, the foundation intends to recognise modern requirements against Swiss music creation more. Instead of looking in the rear view mirror, it will look ahead much more in future. Four conceptual projects and one work project shall replace the previous policy of granting an award.

Urs Schnell, Managing Director of FONDATION SUISA, said: “Instead of patting an artist on the shoulder by awarding them a prize after their success, we invest the money we have available with a focus on the future instead.” He adds: “We wish to promote instead of judge and thus increase our focus towards what lies ahead of us.”

“Get Going!” supports new projects

The so-called “Get Going!” initiative is a type of start-up funding. Four “Get Going!” contributions @ CHF 25,000 each will be made available each year. Music creators may apply for a “Get Going!” subsidy from end of June 2018 onwards. What’s important is that “Get Going!” does not compete with or affect any other support projects by FONDATION SUISA, in particular the current application system, existing partnerships, exhibitions and events abroad or the playing of music in classrooms.

Schnell explains: “On the contrary, they are an important start-up support and serve as a supplement to the existing types of promotion. We want to explore new areas for creation. Especially those outside existing pigeon holes which have been established in the support policy in the past. Even though they have proved themselves to be useful, they still contributed to the fact that certain projects end up being neither here nor there.”

Financial independence thanks to the “Carte Blanche”

Rather than being subject to a bidding process, the “Carte Blanche” is instead granted every other year by a jury of experts, and it amounts to CHF 80,000. The “Carte Blanche” is intended to enable the benefiting party to completely focus on their musical activities and creations over a longer period in time. “The promotion as well as the artistic development are in the focus of a “Carte Blanche” and less the result of the work on a specific work” – this is how Schnell describes the framework of this substantial subsidy.

With both support projects, FONDATION SUISA wishes to react to the fast-changing music scenes where innovative creative concepts fail time and again because they don’t fit into the prevailing regulations. FONDATION SUISA therefore deliberately renounces on current genre, age or project categories. “Get Going!” and “Carte Blanche” shall be accessible to as many musical and creative people as possible. Schnell concludes: “Music creators shall face as little restriction in their creative ideas as possible. It is in the ‘in between’ where conventional genre definitions fail, because they fall through the grate, that we wish to become active in future as constructive promoters and supporters.”

The new support policy of FONDATION SUISA shall apply with immediate effect. The first four “Get Going!” projects with CHF 25,000 each shall be opened for application at the end of June 2018. Information on the application will then be uploaded to the website of the foundation.

www.fondation-suisa.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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FONDATION SUISA reinforces its activities regarding the support of music in Switzerland and the Principality of Liechtenstein: Each year, four music projects shall be launched under the motto “Get Going!”, and every other year, a bigger amount shall be allocated to works under the slogan “Carte Blanche”. Text by FONDATION SUISA

FONDATION SUISA - New support strategy: “We want to look ahead”

With its revised support policy, FONDATION SUISA intends to locate new creative places and push new projects forward where music creators can exercise their creative ideas in the most unrestricted way possible. (Photo: Alberto Andrei Rosu / Shutterstock.com)

The Foundation Council of the FONDATION SUISA decided to reorient one part of its support policy and to open it up to new perspectives. By way of these actions, the foundation intends to recognise modern requirements against Swiss music creation more. Instead of looking...read more

“I think it’s particularly exciting when I don’t know which direction a song is going to take”

James Gruntz recently released his new album “Waves”. An important role in the creation of this album is the composer in residence year that the 30-year-old songwriter, multi-instrumentalist, producer and singer has been granted by FONDATION SUISA. Text by guest author Markus Ganz

James Gruntz: “I think it’s particularly exciting when I don’t know which direction a song is going to take”

“It’s a reality that I earn a living with the concert fees and remuneration from the collective management organisations”, explains James Gruntz. (Photo: Gregor Brändli)

With the album “Belvedere”, James Gruntz managed his breakthrough in 2014, corroborated by great chart positions and several awards (“Basel Pop Awards” 2014 and two “Swiss Music Awards” 2015). For the creation of the recently published follow-up album “Waves”, the pressure probably increased for the musician; he grew up in Nidau near Biel, came to Basel at the age of 16, passed his Pop Master degree at the Zurich University of the Arts and is now living in a factory loft in Dulliken near Olten, working on his songs.

James Gruntz puts this pressure into perspective during an interview. “Music has always been a very important part of my life – and it’s going to stay that way, completely irrespective of whether I can earn my living with it or not.” The songwriter, multi-instrumentalist, producer and singer also highlights that his début album was already released ten years ago and that the recently launched album “Waves” is already his sixth. “There was a continuous development: At some point, my songs were played on the radio, and there were more and more engagements and concerts. And so far, reflecting this continued development, each album sold more copies than the previous one.”

The joy of scat

Next, James Gruntz makes the jarring comment that he was glad not having to be part of the golden era of the music industry. “As a consequence, I do not have huge commercial expectations in the album format. It’s a reality that I earn a living with the concert fees and remuneration from the collective management organisations.” His financial position is balanced because he is author, performer and producer, all at the same time, for his songs. In terms of his album sales, his only expectation is that he is able to cover the related costs.

Luckily, James Gruntz still realised the new album “Waves”, since it captivates the listener with an enchanting mix of soul, pop and electronic music. He didn’t have a vision of what his new album would be like when beginning its creation. “The only thing that was clear to me was that, just like in the case of the last album for the piece ‘Heart Keeps Dancing’ I wanted to do something again with scat vocals.” That was when he tried out this special tongue clicking technique for the first time and it found a lot of positive reception. And since he really enjoyed this “extremely”, he wanted to pluck the courage to do more on the new album in terms of this type of music.

Not in it for his own sake

The idiosyncratic use of his voice has an even bigger impact on the music than on his last album, this is also due to the falsetto he uses which is reminiscent of Prince at times, and due to the harmonizer singing for several voices which creates a peculiar alienation. “The playful manipulation of singing is something I simply enjoy very much. It’s important, however, that you don’t just do it, because you can or because it’s technically cool. It has to be able to function by itself and make sense.” At the end of the day, the voice imparts a high recognition value to the album.

The new pieces were created in rather different ways. James Gruntz always carries a Dictaphone on him and records ideas with it. Every now and then he listens to these recordings and searches for ideas “where I feel like developing something from it.” This is when he works on this idea at home alone in his home studio until the song form has been established. “I think it’s particularly exciting when I don’t know which direction a song is going to take. Only when I am aware of that, when I have found my version, that’s when I look for collaboration with other musicians – and I am open to their ideas and input.”

Different origins

He had the idea for the first single, “You”, as early as three years ago, in other words, shortly after the release of the last album. “This piece has been subject to some enormous development before it was finished, it actually became rather different.” Other songs such as “Waves”, were more or less plucked out of thin air and nearly completed within just one day. “This piece is still the demo to some extent. That was possible because it is closer to a mood than to a song and therefore it was more limited in terms of enhancing it.”

The composer in residence year valued at CHF 80,000 that James Gruntz received from FONDATION SUISA in 2016 played an important role in the making of the album. “Waves” was actually meant to be released this spring. “I realised, however, that I needed more time in order to design the album in exactly the way I envisaged it to be. That’s how I was able to postpone the release of the album by half a year without starting to panic that my bank account would drop below zero.”

Is the book the new CD?

The composer in residence year also made a rather special project possible: James Gruntz will publish a 64-page book in time for the tour. “It’s an experiment that I would have had to think about twice without the money from the FONDATION SUISA.” For each song of the new album, a male or female author was asked respectively to write a text, but without any instruction. “What came out of this were poems and stories which are very interesting for me, too, as they show what my music can trigger.”

Behind this book project is the contemplation of James Gruntz that “the CD is, despite its better sound quality, on a downward spiral.” He is still convinced, however, that the majority of the people wish to continue holding something in their hands when they listen to music, just like him. “And a book is a much nicer object than a CD! It also contains the song lyrics; that is good for those listeners that are streaming my music.” The project was also made possible due to the fact that his album is released by the publisher Zytglogge which also includes books in its assortment. That is why James Gruntz can now look forward to his music coming into the bookshops he loves so much since the book also contains a download code for his album (the book is also going to be sold at his concerts).

Concerts 2017/18: 17 Nov. Schüür Lucerne, 18 Nov. Eintracht Kirchberg SG, 24 Nov. Gaswerk Seewen, 25 Nov. Kaserne Basel, 1 Dec. Kofmehl Solothurn, 2 Dec. L’Usine Genève, 8 Dec. Salzhaus Brugg, 9 Dec. Hotel Wetterhorn Hasliberg, 17 Dec. Zauberwald Lenzerheide, 12 Jan. 2018 Salzhaus Winterthur, 19 Jan. Chollerhalle Zug, 20 Jan. Mokka Thun, 16 Feb. Kulturkarussell Rössli Stäfa, 23 Feb. Kulturfabrik KUFA Lyss, 24 Feb. Casino Herisau, 27 Apr. Kühltür Grosshöchstetten.

www.jamesgruntz.com, official website of James Gruntz

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Lyrics for a song: “Anything goes – if it has success”Lyrics for a song: “Anything goes – if it has success” The FONDATION SUISA dedicates its CHF 25,000 recognition award to lyricists of musical works this year. But what makes a song text a success? Guest author Markus Ganz in an interview with journaliste Jean-Martin Büttner. Read more
“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
Carrousel: “Sometimes a toy piano helps when you’re looking for a melody” | plus videoCarrousel: “Sometimes a toy piano helps when you’re looking for a melody” | plus video Chromatic, cheerful and charming – thats the sound of Carrousel’s chansons. Hard to imagine that they are created in the sparseness and solitude of the Jura landscape rather than in the backstreets of Paris. “At the beginning of our cooperation, we tried working from Paris”, Sophie Burande laughs with her crystal-clear and yet warm voice. “Thanks to a stipend of the Canton Jura it was possible for us to work and live in Paris for half a year.” She and her life partner Léonard Gogniat found the energetic lifestyle, just as the rich cultural offering, rather stimulating. “But in the end, we preferred to come back to Switzerland.” Read more
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James Gruntz recently released his new album “Waves”. An important role in the creation of this album is the composer in residence year that the 30-year-old songwriter, multi-instrumentalist, producer and singer has been granted by FONDATION SUISA. Text by guest author Markus Ganz

James Gruntz: “I think it’s particularly exciting when I don’t know which direction a song is going to take”

“It’s a reality that I earn a living with the concert fees and remuneration from the collective management organisations”, explains James Gruntz. (Photo: Gregor Brändli)

With the album “Belvedere”, James Gruntz managed his breakthrough in 2014, corroborated by great chart positions and several awards (“Basel Pop Awards” 2014 and two “Swiss Music Awards” 2015). For the creation of the recently published follow-up album “Waves”, the pressure probably increased for the musician; he grew up in Nidau near Biel, came to Basel at the age of 16, passed his Pop Master...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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Publishing agreements: What do I need to consider?Publishing agreements: What do I need to consider? Publishing agreements in Switzerland are governed by the Swiss Code of Obligations (OR) The respective statutory provisions on it are, however, not very detailed. In the case of music publishing agreements in particular, you cannot simply rely on the law. Besides, the contractual parties may also stipulate their own arrangements in the agreement. So what do you have to be aware of with respect to publishing agreements? Read more
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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

Swiss music lives thanks to SRG’s special interest stations

The Transport and Telecommunications Committee of the National Council has moved to close down six SRG special interest stations and has filed a motion in this sense. For Swiss music creators the consequences would be devastating. These stations are precisely those that play and promote local Swiss music. Sign the online petition “Hands off special interest stations” now! Text by Giorgio Tebaldi and Manu Leuenberger

Swiss music lives thanks to SRG's special interest stations

From the streets of Berne to the stage of the Kulturfabrik in Lyss: The band Troubas Kater performing in dialect appears during the 14th edition of “8×15.” in November 2015. At each of these concert evenings of SRF Virus, 8 Swiss bands can present their talent, and be discovered by the audience in a 15-minute slot. (Photo: SRF)

At the Swiss Music Awards in February 2017, the Zurich duo Dabu Fantastic and their co-composer Gianluca Giger were awarded prizes for the best hit and best composition. The Zurich band is currently one of Switzerland’s most successful pop acts. According to singer Dabu Bucher in a recent interview with SRG (Swiss Broadcasting Company), the band owes its popularity in great part to the SRG radio stations. SRF Virus first played its songs over 10 years’ ago, actively encouraging the band’s career.

The SRG youth station is important for other Swiss artists too. It serves as a springboard for young and (still) unknown musicians. The station provides an important platform for newcomers, through its “8×15.” concert broadcasts for example. 50% of the music broadcast by SRF Virus is Swiss music. Hardly any other station offers its audience so large a proportion of local music.

But if the Transport and Telecommunications Committee of the National Council has its way, that will soon be over. In Motion 17.3010 for a “Reduction in special interest radio stations”, the Committee asks for six SRG radio broadcasting stations to be closed: SRF Virus, SRF Musikwelle, Radio Swiss Classic, Radio Swiss Jazz, Radio Swiss Pop and the French-speaking station Option Musique. According to the motion, these stations “do not perform any true public service mission”.

Public service also means promoting Swiss cultural creation

In its “Report on the revision of the definition and provision of the SRG public service taking into account private digital media”, the Federal Council reviewed the meaning of public service in radio and television broadcasting. In its report, the Federal Council pointed out that the SRG provides “numerous unprofitable services in the interest of society”. These services include promoting Swiss films, Swiss music and Swiss literature. This would hardly be possible without reception fee revenues.

Special interest stations extensively promote Swiss music – pop and rock as well as jazz on SRF Virus, and classical and especially folk music on SRF Musikwelle. As SUISA claims on its website, altogether 22% of the music played on the six special interest stations is Swiss, as against 20% overall for all the SRG stations. By comparison, Swiss private broadcasters play less than 10% of Swiss music on average.

Special interest stations discover and promote Swiss music

Special interest stations are instrumental in discovering and promoting Swiss music. Their reporting about the current Swiss music scene is irreplaceable. It is difficult to imagine private broadcasters throwing themselves into the breach left by closing the special interest stations. Private broadcasters are guided by profit-making principles and are primarily financed by advertising. Therefore, they have to gear most of their programming to an audience which wants to hear hits. Swiss musicians hear this all the time in statements like:  “we don’t make the hits, we just play them”, says singer-songwriter Christoph Trummer, President of the association Musikschaffende Schweiz (Swiss Musicians), in an interview with Musikmarkt, the music magazine.

Closing down the special interest stations would also affect Swiss music creators financially. Between them, the six stations played about 550,000 minutes of music by Swiss authors in 2015. According to SUISA’s 2015 annual report, the licence fees for SRG radio stations average CHF 2.70 per minute of playing time. Thus, broadcasting royalties for the works of Swiss composers, lyricists and publishers on the six SRG special interest stations totalled about CHF 1.5 million. This money does not only go to well-established stars, it also goes to unknown Swiss artists.

Favorable framework conditions for Swiss culture

The motion of the Transport and Telecommunications Committee if accepted would have serious implications for the Swiss music scene. Not only would Switzerland lose these important platforms for showcasing the broad diversity of Swiss musical creation, closing down the special interest stations would have significant financial consequences for artists.

Moreover, one substantive question remains to be answered: is it truly Parliament’s role to decide on broadcasting content? Should the legislative not confine itself to setting the framework conditions for radio and television broadcasters? The proposed motion seeks to decide the fate of individual SRG stations. This goes far beyond setting framework conditions. Swiss music creators have more than deserved favorable framework conditions in their own country.

SRG has been operating «mx3 – The Swiss Music Portal» since 2006. Musicians can use the portal www.mx3.ch to present their music to the public; the SRG stations use the portal for their programming. SRF 3, SRF Virus, Couleur 3, Rete Tre and Radio Rumantsch include songs that musicians have uploaded onto mx3 in their broadcast programming. In 2015, about 22,900 bands showcased their music on the mx3 portal.

Petition: Hands off special interest radios!

The purpose of this petition is to ask the competent parliamentary bodies not to close SRG’s special interest stations.

Sign the online petition “Hands off special interest stations” at www.petitionen24.com

Sie können die Petition auch auf dem Unterschriftenbogen unterzeichnen (PDF).

The petition is sponsored by a broad interest group representing the Swiss music scene. Among others, the following stakeholders support the petition: Schweizer Musikrat, Musikschaffende Schweiz, Schweizer Musiksyndikat, Schweizer Tonkünstlerverein, Schweizerischer Musikerverband SMV, Helvetia Rockt, IndieSuisse, IFPI, Schweizer Interpretengenossenschaft SIG, Orchester.ch, Eidgenössischer Jodlerverband EJV, Schweizerischer Blasmusikverband SBV, Schweizerische Chorvereinigung SCV, Verband Schweizer Volksmusik VSV.

Every single signature counts and is important to ensure that radio stations like Radio Swiss Pop, Radio Swiss Classic, Radio Swiss Jazz, Radio SRF Virus, Radio SRF Musikwelle and Radio RTS Option Musique can continue to broadcast and help audiences discover Swiss music. Further information is available on the petition initiators’ website: www.prospartenradio.ch

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The Transport and Telecommunications Committee of the National Council has moved to close down six SRG special interest stations and has filed a motion in this sense. For Swiss music creators the consequences would be devastating. These stations are precisely those that play and promote local Swiss music. Sign the online petition “Hands off special interest stations” now! Text by Giorgio Tebaldi and Manu Leuenberger

Swiss music lives thanks to SRG's special interest stations

From the streets of Berne to the stage of the Kulturfabrik in Lyss: The band Troubas Kater performing in dialect appears during the 14th edition of “8×15.” in November 2015. At each of these concert evenings of SRF Virus, 8 Swiss bands can present their talent, and be discovered by the audience in a 15-minute slot. (Photo: SRF)

At the Swiss Music Awards in February 2017, the Zurich...read more

«Respekt vor jenen, die sich im Musikberuf ihren Weg gebahnt haben»

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Bernard Cintas neu im Stiftungsrat der FONDATION SUISA

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25 years of FONDATION SUISA – a success story

The FONDATION SUISA, SUISA’s non-profit music foundation, celebrates its 25th anniversary this year. Since its formation in 1989, it has supported Swiss music activities at home and abroad with more than CHF 36m. Founding member Roy Oppenheim casts a personal glance back on the journey in the SUISAblog.

25 years of FONDATION SUISA - a success story

The Klangturm at the Arteplage Biel was the sounding landmark of the national exhibition Expo.02 and was financed by FONDATION SUISA and SUISA. (Photo: Felix Eidenbenz)

It was Ulrich Uchtenhagen (1926-2003), the then SUISA CEO who called me in the summer of 1988 and asked me whether I wanted to support him with the formation of a new cultural foundation. As he retired in the same year for reasons of age, his successor, Patrick Liechti (1950-1997) continued the task to that the SUISA foundation for music could be called into life in 1989.

Make Swiss music known all over the world

I was active as a Director at Swiss Radio International and due to the revolutionary events in Europe (Fall of the Berlin Wall in 1989), I strived together with Urs Frauchiger, the then Head of Pro Helvetia, to make Swiss music known all over the world. We wanted to continue the legacy of Lance Tschannen, the tireless inspirer of Swiss music life. Tschannen was the initiator and producer of the Swiss music anthology “Musica Helvetica” which was supported by SRG and SUISA.

I met important protagonists of copyright as well as music such as Hans Ulrich Lehmann, Carlo Florindo Semini, Julien-François Zbinden, Bruno Spoerri, and Jacques Wildberger among a rather ‘young’ Foundation Board of the newly formed SUISA foundation for music. – Together with the first director, the musician Claude Delley, we tried to improve the insufficient information on Swiss music creation. After seemingly insurmountable difficulties, we managed to develop a regular magazine which we also produced electronically after the advent of the internet at the beginning of the 90ies.

Presence at the Locarno Film Festival

I am proud that we managed to win over the former regional Director of the RTSI, Marco Blaser, as President of the Jury for the Swiss Film Music Prize, initiated by the foundation. As a consequence, the SUISA foundation received a regular journalistic presence at the Locarno Film Festival.

Marco Blaser, President of the Jury of the Swiss Film Music Prize of FONDATION SUISA, leads the Award ceremony at the Locarno Film Festival in 2005. (Photo: Claudia Kempf)

Expo.02: Klangturm (“sound tower”) at the Arteplage Biel

We faced another major event to which the foundation contributed in a major way at the beginning of 2000: the EXPO.02. We – Claude Delley, Alfred Meyer, Erika Hug and me – jointly fought for the realisation of the Klangturm at the Arteplage Biel. Success finally came with the support of SUISA and the SUISA foundation. It was a project based on an idea of Andres Bosshard, musician and sound architect. His instrument was a monumental sound tower, his score was legible on computer screens.

Whoever approached the remarkable sound tower could hear the real environmental sounds of lake and Arteplage from afar. They changed into new sound sequences and mutated to some sort of electronic murmuring and roaring when coming closer. The sounds were transmitted via 32 speakers which were installed at seven different levels at a height of 40 metres, partly hovering around, attached to giant balloons, partly hidden as subwoofers in the spectators’ benches.

The audience sat on the floor and on chairs and listened, some only briefly and curious, others for hours. It was an incredibly pleasant and peaceful image that the spectator could witness in this section of the Arteplage Biel. It is likely that the number of Expo visitors to the sound tower topped a million. It was a one-off chance to enthuse a broader population for the interests of music.

Writing Swiss cultural history

Two big names of the Swiss artistic scene: Jazz musician Georges Gruntz (on the left) and cartoonist Nico Cadsky were guests of SUISA and the SUISA foundation at Midem in Cannes in 2002. (Photo: Roy Oppenheim)

Yes, the music foundation has – apart from thousands of subventions to musical projects – written Swiss cultural history, not only due to its financial means but also thanks to many new ideas. Among these are the constant and original presence at international music fairs such as the Musikmesse Frankfurt, Popkomm Berlin or Midem in Cannes. At the latter, the biggest music exhibition worldwide, the jazz musician and publisher Peter Schmidlin organised the “Swiss Jazz Club” for five years, starting in 2000, on behalf of the foundation. It was an internationally successful event where all big Swiss jazz musicians performed, such as Georges Gruntz, Franco Ambrosetti, Kurt Weil, Erika Stucky and others. The involvement of the foundation in the successful initiative jugend + musik (youth & music) to anchor “musical education” into the Federal constitution was another courageous and successful project.

The foundation is still looking for new ways to this day in order to support Swiss composers and artists. Among these is the cooperation developed by the current foundation Director, Urs Schnell, with the audiovisual platform art-tv.ch. The FONDATION SUISA has become indispensable in our country. I would like to express my sincere thanks to it.

Additional information:

  • News release dated 11/12/2014: “FONDATION SUISA supports Swiss music with CHF 36m in 25 years”
  • SUISAinfo members’ magazine, issue 2.14 (pdf), main topic: “SUISA and its foundations”

This guest contribution has been penned by Roy Oppenheim, founder member of the FONDATION SUISA. About the author in brief: After his studies of history of art, history and journalism, Roy Oppenheim wrote numerous books and contributed to many TV programmes as author and producer. Roy Oppenheim also led the culture sector of Swiss Television SF DRS for 13 years, was Director of Schweiz International and the fourth Channels, held the position of Communications Director of SUISA for 10 years and managed the new sculpture museum Rehmann for 7 years. Today, he is President of the Forum Helveticum and the multimedia platform www.art-tv.ch as well of various other cultural foundations.

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“Swiss Film Music features great diversity and high quality” The box-set “Swiss Film Music”, containing three CDs, one DVD and a book, released by FONDATION SUISA, provides fascinating insights into the history of Swiss film music between 1923 and 2012. A conversation with the musicologist and media scientist Mathias Spohr who acted as artistic director for the project. Read more
“The FONDATION SUISA Award 2015 gives us a push for the future!” The Duo Aliose receives this year’s FONDATION SUISA Award for its outstanding performances in the musical genre ‘variété’. Since the release of its debut album in 2009, Aliose have performed at more than 250 concerts, of which a third took place outside of Switzerland. Alizé Oswald and Xavier Michel met more than 10 years ago at a workshop for authors, composers and artists. The award winners provided us with a written statement on their music, composing, winning the award and their next album. Read more
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The FONDATION SUISA, SUISA’s non-profit music foundation, celebrates its 25th anniversary this year. Since its formation in 1989, it has supported Swiss music activities at home and abroad with more than CHF 36m. Founding member Roy Oppenheim casts a personal glance back on the journey in the SUISAblog.

25 years of FONDATION SUISA - a success story

The Klangturm at the Arteplage Biel was the sounding landmark of the national exhibition Expo.02 and was financed by FONDATION SUISA and SUISA. (Photo: Felix Eidenbenz)

It was Ulrich Uchtenhagen (1926-2003), the then SUISA CEO who called me in the summer of 1988 and asked me whether I wanted to support him with the formation of a new cultural foundation. As he retired in the same year for reasons of age, his successor, Patrick Liechti (1950-1997) continued the task to that the SUISA foundation for...read more