Tag Archives: Professional musician

“It would be nice if this crisis would lead to some sort of a raised awareness”

During the corona crisis, SUISA’s “Music for Tomorrow” project provides a platform for some members to report on their creative activities and the challenges they are facing during this period. This time, Zurich musician and songwriter Anna Känzig tells how it feels when one concert cancellation after the other flutters into her house and why she hasn’t lost her courage despite of that. For “Music for Tomorrow”, she exclusively performed her song “House of Cards”, which nicely describes the current circumstances.  Text by Nina Müller; video by Anna Känzig, edited by Nina Müller

Anna Känzig (35) was already very musical at a young age. She learned to play the guitar at the age of five. Later, the bass and the piano followed, and her school education also took place in the musical field. At the Zurich University of the Arts (ZHdK) she completed her Bachelor’s degree in the jazz department and since 2009, Känzig has been an integral part of the Swiss music scene. With her clear voice, the Zurich native has already thrilled audiences at the Montreux Jazz Festival, Gurten Festival, Energy Air and the finals of the Elite Model Look 2016.

She has been under contract with Sony Music Switzerland since 2014 and has already produced three albums, the first one still on the Nation Music label. She produced the album “Sound and Fury”, which also features on “House of Cards”, together with music producer Georg Schlunegger from Hitmill, and Lars Norgren, who also works with Swedish pop musician Tove Lo, mixed the album.

In 2016, her song “Lion’s Heart” was the anthem of the fundraising campaign “Every Rappen Counts”. Anna Känzig is the first woman to contribute the official song for the fundraising campaign by the SRF and the Swiss Solidarity organisation “Glückskette”.

“House of Cards”

For “Music for Tomorrow”, Anna Känzig performed and recorded the song “House of Cards”. On the play, she says: “The song actually describes the current situation very well. It is about the fact that situations can change from one day to the next and despite meticulous planning everything can suddenly be different. The song was written a few years ago and has been a fixed part of my live programme ever since.

Anna Känzig, what does your working day as a composer/lyricist look like during the corona pandemic?
I try to use the resulting compulsory break as creatively as possible. At the beginning of the corona crisis, I found this extremely difficult, as the whole situation paralysed me. Every day new concert cancellations fluttered in, and the planned single release suddenly didn’t seem to make much sense anymore. At some point I was able to free myself from this lethargy and found my creative flow again. I dug out a lot of song ideas that had been lying fallow until then and barricaded myself in my band room with them. Meanwhile many new songs have been written, at best material for a new album!

What does this crisis mean for you personally?
Due to the crisis I suddenly had to deal with myself and my work much more intensively again. The collective foreclosure triggered a creative impulse in me. Since no more live concerts were allowed to be played, personal contact with the audience broke off abruptly. Many concerts have been moved to the internet, which I personally didn’t really like. I understand that alternative forms have to be found, but especially with streaming concerts an essential part of cultural enjoyment is lost for me. In the meantime, smaller concerts are allowed again, and I notice more than ever that this exchange of energy between musicians and audience is simply irreplaceable.

How can the audience support you at the moment?
In quite a classic way: Buying albums and songs always helps. Of course, this does not always have to happen via the large platforms. It helps us most when the music is bought directly from us, via our webshop, or upon personal request. Streaming is also possible, but here the revenues per stream are very low. Social media certainly also play a role in supporting the artist. A Like is not a payment, but the attention and sharing of contributions in social media helps us to expand our reach and, at best, to gain new fans.

Would it help if people on Spotify and Co. streamed your music more often?
Streaming helps to a small extent, sure. But it would be much better if people would consume the music on platforms where they can buy the individual tracks. It would be nice if this crisis would raise awareness and people would be more willing to pay for the consumption of culture again.

In your opinion, what positive things could the current situation bring about?
I hope that the lack of cultural experiences and adventures triggered by the corona crisis will create a new hunger for live encounters among people and that something like a concert visit will be much more appreciated again.

What do you want to give your fans to take away from this interview?
I am looking forward to welcoming my fans at a live concert again soon!

www.annakaenzig.com

“Music for Tomorrow”
The Covid-19 crisis has hit SUISA’s members particularly hard. The main source of income for many composers and publishers has completely been lost: Performances of any kind have been prohibited by the Federal Government until further notice. In the coming weeks, we will be posting portraits of some of our members on the SUISAblog. They will tell us what moves them during the Covid-19 crisis, what their challenges are and what their working day currently looks like. The musicians also performed and filmed their own composition for the SUISAblog at home or in their studio. SUISA pays the musicians a fee for this campaign.
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Information on live streams for SUISA membersInformation on live streams for SUISA members The corona measures led to a loss of performance and earning opportunities for music creators and to a painful loss of live music for music consumers. Live streaming therefore enjoys great popularity, especially in these times, and takes on a pertinent role in the cultural industry. Read more
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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
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  1. Guten Tag Nina,
    danke für deinen Beitrag! Ein sehr wichtiges Thema was du da ansprichst. Es war und ist auch immer noch für uns alle eine schwere und ungewohnte Zeit.

    Liebe Grüße
    Christoph

Leave a Reply

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Your email address will not be published.

During the corona crisis, SUISA’s “Music for Tomorrow” project provides a platform for some members to report on their creative activities and the challenges they are facing during this period. This time, Zurich musician and songwriter Anna Känzig tells how it feels when one concert cancellation after the other flutters into her house and why she hasn’t lost her courage despite of that. For “Music for Tomorrow”, she exclusively performed her song “House of Cards”, which nicely describes the current circumstances.  Text by Nina Müller; video by Anna Känzig, edited by Nina Müller

Anna Känzig (35) was already very musical at a young age. She learned to play the guitar at the age of five. Later, the bass and the piano followed, and her school education also took place in the musical field. At the...read more

“The crisis feels a little like being in a rehab clinic to me”

During the corona crisis, via its project “Music for Tomorrow”, SUISA is providing a platform for some members to report on their work and the challenges they are facing during this period. This time round, the Valaisian musician and songwriter Tanya Barany tells us why she hopes that people in this crisis have focussed their awareness of things like care, appreciation, solidarity or reflection and exclusively performs her song “Cotton Clouds”. Text by Giorgio Tebaldi; video by Tanya Barany, complemented by Nina Müller

“Dark like my British humour, but with a touch of fresh mountain air,” is how Tanya Barany describes her “Dark Pop”. Born and grown up in the Upper Valais, Tanja Zimmermann, that is what she is actually called, found her way to music at an early age: “I’ve been singing, dancing and performing all my life. The stages have simply become a bit bigger over time,” she says in a written interview. “What was once my bed has mutated into a Gampel Open Air stage.” Her musical career began with her first solo appearance with guitar at a children’s hit parade at the age of 11. At the age of 14 she founded the girl power trio Labyrinthzero, with which she released her first EP with her own compositions and played over 150 concerts at home and abroad.

Found a musical home

Decisive for her musical career was the encounter with Jonas Ruppen, who plays keyboard in her band and creates the videos: “He showed me the world of Radiohead, James Blake, etc. – and suddenly I had found my musical home!” The two have been playing music together for ten years now and work together on the overall concept of “Tanya Barany” – Tanya as songwriter and Jonas as video producer.

She began her musical education in 2014 by studying music at the Zurich University of the Arts, where she says that she was able to benefit from great teachers. “At the same time, I learned how to use the recording program LogicX, which took my songwriting in a completely different direction – my ‘Dark Pop’ saw the light of day!”

The debut album “Lights Disappear”

In 2019, Tanya Barany’s debut album “Lights Disappear” was released. Several performances on stages at home and abroad followed, e.g. Gampel Open Air, Zermatt Unplugged, Swiss Live Talents or at the Blue Balls Festival.

Besides her project Tanya Barany, she is a full-time studio singer and musician, songwriter, lyricist and vocal coach.

“Cotton Clouds”

For “Music for Tomorrow” Tanya Barany performed and recorded the song “Cotton Clouds”. She says the following about the work: “‘Cotton Clouds’ describes the feeling of immersion in water where suddenly everything around becomes silent; where suddenly another world appears. One the one hand, the water walls are depressing (almost oppressive), on the other hand they remind us of the security of an embrace. ‘Cotton Clouds’ is my unreleased hidden track. Like my songs on the album ‘Lights Disappear’, ‘Cotton Clouds’ grew out of the dark corner of my heart, but the track didn’t find a place on the album. I had composed ‘Cotton Clouds’ on the piano at that time; I prefer to play the piano alone for myself, without anyone listening to me. I chose ‘Cotton Clouds’ for ‘Music for Tomorrow’, because I want to invite the audience into my little lounge and take you on a little personal journey … :-)”

Tanya Barany, what does your working day as a composer/lyricist look like during the corona pandemic?
Tanya Barany: At the moment, I have more time to convert my song ideas into finished songs. Therefore, I try to generate as much output as possible – not only for me as Tanya Barany, but also as a ghostwriter for other artists. My partner, David Friedli – also a musician and composer – and I often write together. We move in all possible style directions – from folk to rock to pop to electro pop to soul etc. – it’s really fun!

What does this crisis mean for you personally?
The crisis feels a little like being in a rehab clinic to me. I don’t really want to be there – I miss performing live, cultural life and even planning ahead – who would have thought – and I can’t wait for normality to return.
On the other hand, this crisis also brings something valuable with it: Time! The world just seems to revolve a bit more slowly. Suddenly I am allowed to concentrate on things that are not necessarily on my having to do list but on the nice to do list – that feels incredibly good! This time has made “Reboot” possible, now I feel much more energetic and creative than before the crisis.

How can the audience support you at the moment?
My audience can best support me by telling all my friends and relatives about my music and telling them to buy the “Lights Disappear” CD! 🙂 Dark songs help through dark times … 🙂

Would it help if people on Spotify and Co. streamed your music more often?
When selecting live acts, the organisers look at the number of “listeners” on Spotify, YouTube etc. Therefore, it is surely an advantage if my music is streamed regularly on these platforms. It is also nice to see that my songs are even heard on the other side of the world! But to support me as an artist directly, I am always very grateful for purchased music on iTunes etc. or directly at concerts.

What do you think the current situation could bring with it?
I very much hope that people’s awareness will be sharpened somewhat – on all levels! A little more care, appreciation, solidarity, reflection – that would do us all good!

What do you want to give your fans to take away from this interview?
Dear fans, although it seems to be quieter around Tanya Barany at the moment, I’m working diligently in the background on a new concept, so that it will be even more cracking afterwards – so enjoy the calm before the storm! 🙂 I am already looking forward to presenting you new songs! Thanks for your support so far! Take care <3

www.tanyabarany.ch

“Music for Tomorrow”
The Covid-19 crisis has hit SUISA’s members particularly hard. The main source of income for many composers and publishers has completely been lost: Performances of any kind have been prohibited by the Federal Government until further notice. In the coming weeks, we will be posting portraits of some of our members on the SUISAblog. They will tell us what moves them during the Covid-19 crisis, what their challenges are and what their working day currently looks like. The musicians also performed and filmed their own composition for the SUISAblog at home or in their studio. SUISA pays the musicians a fee for this campaign.
Related articles
Information on live streams for SUISA membersInformation on live streams for SUISA members The corona measures led to a loss of performance and earning opportunities for music creators and to a painful loss of live music for music consumers. Live streaming therefore enjoys great popularity, especially in these times, and takes on a pertinent role in the cultural industry. Read more
Kety Fusco: “This situation will put everyone – musicians, technicians, insiders – to the test”“This situation will put everyone – musicians, technicians, insiders – to the test” With the “Music for tomorrow” project, SUISA aims to support its members in these difficult times. We offer artists a platform where they can talk about their current situation while in lockdown and present one of their works. The prelude is made by the Ticino composer and harpist Kety Fusco. In a written interview she talks about her everyday life in lockdown and why not that much has actually changed for her. Read more
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
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During the corona crisis, via its project “Music for Tomorrow”, SUISA is providing a platform for some members to report on their work and the challenges they are facing during this period. This time round, the Valaisian musician and songwriter Tanya Barany tells us why she hopes that people in this crisis have focussed their awareness of things like care, appreciation, solidarity or reflection and exclusively performs her song “Cotton Clouds”. Text by Giorgio Tebaldi; video by Tanya Barany, complemented by Nina Müller

“Dark like my British humour, but with a touch of fresh mountain air,” is how Tanya Barany describes her “Dark Pop”. Born and grown up in the Upper Valais, Tanja Zimmermann, that is what she is actually called, found her way to music at an early age: “I’ve been...read more

Support for SUISA members during the corona crisis

Following the federal COVID-19 ordinances, music usage plummeted depriving authors and publishers of a significant portion of their royalty revenues. SUISA offers its members financial support to bridge the loss in earnings. Text by Irène Philipp Ziebold

Support for SUISA members during the corona crisis

No concerts means no revenues from performing rights. Instead, Kety Fusco played live music from her home for the SUISAblog “Music for Tomorrow” series and for SUISA Music Stories on social media. (Photo: screen shot video Kety Fusco)

Cancelled concerts, closed shops and cinema theatres, reduced advertising on radio and TV – the consequences of the federal measures against the spread of the coronavirus have a direct impact on rights management revenues: if there is no music usage, there is no royalty income.

SUISA offers its members financial support to bridge the loss in earnings:

Advances

First and foremost, SUISA has the option, as it has always had, to grant advances to its members. Both authors and publishers can qualify for an advance. The amount of the advance is based on the member’s average revenues in the preceding years. Advances can only be granted to members who have earned more than CHF 500 on average in royalties in recent years. Members may apply for an advance by email. Applications are processed within seven days. The decision is communicated in writing by email. If the applicant satisfies the qualification criteria, the advance will be paid immediately by bank transfer.

Under normal circumstances, advances are offset against the member’s next settlement. This means that the amount advanced is deducted from the distributable amount. As an immediate measure in the exceptional context of the corona pandemic, SUISA’s Board has decided that advances would not be offset before June 2021 at the earliest. The Board and the Executive Committee are keeping a close eye on the crisis situation and, depending on economic developments, may decide to further postpone the offsetting of such advances. In any event, repayment of these advances will not be due before June 2021 at the earliest.

Support payments for members

If an advance is insufficient to alleviate the existential financial hardship suffered by a member as a result of the loss in royalty revenues, the member may apply to SUISA for support payments. SUISA’s Pension Fund makes funds available to authors in the event of an emergency. As a further immediate measure, the Executive Committee has decided to create an additional emergency relief fund from which support payments can be made to authors and publishers alike. The emergency relief fund still has to be ratified by the General Meeting by postal voting.

In the framework of its rights administration responsibilities, SUISA provides support to members who suffer a loss in their royalty revenues. However, only limited funds are available for support payments. SUISA members who are not already receiving hardship relief from the emergency fund of Suisseculture Sociale or under other cantonal measures may apply for support payments from SUISA.

Applicants must prove their financial hardship. Applications for support payments can be submitted via the members’ portal “My account”. Application documentation will be processed within seven days. Decisions are communicated in writing by email. Payment is made by bank transfer as soon as an application is approved. Support payments do not have to be repaid.

Federal support measures and other aid

The financial support provided by SUISA is designed to help bridge a shortfall in royalty income. SUISA’s support is supplemental – not in lieu of or as an alternative to federal support measures. Information about the measures introduced by the Swiss government to alleviate the economic consequences of the corona pandemic on the cultural sector is available (in German, French and Italian) on the website of the Federal Office of Culture (FOC): www.bak.admin.ch/bak/de/home/themen/coronavirus.html

The Swiss cultural foundation Pro Helvetia also publishes continuously updated information at: www.prohelvetia.ch/en/dossier/info-hub-covid-19/

Go to: www.suisseculture.ch for information about the emergency relief fund for cultural workers, and a link to the application portal. Applications for immediate aid can be submitted through this portal.

Helpful information for musicians is also available on the website of Sonart, the professional association of freelance musicians in Switzerland.

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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.

Following the federal COVID-19 ordinances, music usage plummeted depriving authors and publishers of a significant portion of their royalty revenues. SUISA offers its members financial support to bridge the loss in earnings. Text by Irène Philipp Ziebold

Support for SUISA members during the corona crisis

No concerts means no revenues from performing rights. Instead, Kety Fusco played live music from her home for the SUISAblog “Music for Tomorrow” series and for SUISA Music Stories on social media. (Photo: screen shot video Kety Fusco)

Cancelled concerts, closed shops and cinema theatres, reduced advertising on radio and TV – the consequences of the federal measures against the spread of the coronavirus have a direct impact on rights management revenues: if there is no music usage, there is no royalty income.

SUISA offers its members financial support to bridge the loss in earnings:

Advances

First and foremost,...read more

“In this, we are all really challenged as a community”

With the “Music for tomorrowˮ project, SUISA aims to support its members in these difficult times. We offer artists a platform where they can talk about their current situation while in lockdown and present one of their works. This week we present the Swiss pianist, composer and music producer Nik Bärtsch and his piece “Modul 5ˮ. In the interview, Nik talks about his everyday life in lockdown with his family and what he has in common with an Australian emergency doctor. Text by Nina Müller; video by Nik Bärtsch, complemented by Nina Müller

Nik Bärtsch (48) is a successful jazz pianist who lives with his family in Zurich. In addition to music, Zurich-born Bärtsch also studied philosophy, linguistics and musicology. It is therefore not surprising that music has a deeper meaning for him. On his website, he describes his music as follows: “A piece can be entered like a room, inhabited. Through obsessive turning moments, overlays of different meters and micro interplay, the music moves on and changes its states. Attention is drawn to the minimal variations and phrasing. The band thus becomes an integral organism – like an animal, a biotope, an urban space. Youʼre supposed to think with your ears and hands.ˮ

He lives this philosophy with his band Ronin and has already toured in Europe, Asia and the USA. With his formations Nik Bärtschʼs Ronin and Nik Bärtschʼs Mobile as well as solo, the musician has released more than thirteen sound recordings, which are performed at weekly performances as part of his concert series at the Zurich Club Exil. Since 2006, he has his own label “Ronin Rhythm Recordsˮ.

For “Music for Tomorrowˮ Nik Bärtsch performed the piece “Modul 5ˮ. He says with regards to the piece: “The piece consists of a small complex pattern in 6/4, which spreads over the whole piano in the course of the piece. I came across this pattern quite early in my musical development and it has accompanied me constantly over the years. Thus the piece, which was composed at an early age, experiences a constant evolution, as I do myself. We work together so to speak, so that our relationship becomes ever simpler, more direct and yet deeper and more mysterious – just as my wife and I shape our lives together.”

Nik, how does your working day as a composer look like during the corona pandemic?
Nik Bärtsch: I am a completely independent composer, pianist, bandleader, producer and publisher. So, at the moment, the only difference compared to the time before the virus is that I travel much less. All international concerts, productions and workshops have obviously been cancelled. I now have the same daily routine that I have at home between trips: I compose, practice, rehearse, organise and communicate alternately. In addition, I share family life with our children together with my wife, who is also very active in her job.
As usual, it requires a lot of love for life, discipline, structure, but also creativity and the desire for surprises.
Since we want to organise and maintain all this at a high level, it was not a big change for us. Our children are often at home and not in after-school care or anywhere else. We all do martial arts and therefore we also have the possibility to train together on the meadow in front of the house.
Our Monday concert series at the EXIL Club will continue for the time being as pure streaming (www.yourstage.live). So Monday remains the ritualized local concert day and the community and the different teams stay in constant contact.

What does this crisis mean for you personally?
Like all severe crises, it shows me exactly where I stand as an artist and human being and once again unconditionally demands my creativity, integrity and resilience.
But as a freelance musician this is often the normal state of affairs anyway. But the big question is: How do groups, ensembles, bands and concert venues survive the current change in the medium term? In this we are all really challenged as a community. The questions that do arise are actually rather useful: What does music mean to me as a professional? What does it mean to all of us? How do we pay for music and the services behind it? How do we sensibly link the value-appraisal chain with the value-creation chain?

How can the audience support you at the moment?
By rewarding my performance and ours: So by watching our paid streams and by consuming and distributing our music on all other media as well. And by learning exactly how music production and presentation works: How many people and their achievements are behind it, when a wonderful song helps me through the day.

Would it help if people on Spotify and Co. streamed more of your music?
The number of streams must be very high for this kind of payment to work. It still helps, though. Everything is connected and the more independent artists are heard and shared, the better. The local, authentic and special art and initiative ultimately feeds the global commercial development. We have noticed this everywhere on our tours around the world.

What do you think the current situation could bring with it?
I always try to deduce the positive in every situation and learn something. The current situation is once again fundamentally testing our prosperity, our security and thus our working methods. This is valuable. Only when we realise how vital music, its inspiring environment and its wonderful possibilities are, can we appreciate the professional handling of it. SUISA and, for example, the Association of Swiss Musicians communicate this very well. Every musician should do this just as passionately and professionally.

What do you want to give your fans to take away from this interview?
Be honest in your approach to music: Nobody simply takes home a loaf of bread at the bakery without paying.
So enjoy the music with the awareness that people have worked on it with love and unconditional devotion.
I recently received an email from an emergency doctor in Australia. He thanked me for the music. He tackles every challenge of the last few years – the floods, the bush fire and now the virus – by listening to one of my tracks in the morning and drinking a coffee with it. Then he would know why he was doing all this and would also be able to bear death, pain and danger. The music gives him strength to rescue, save and help people. I understood then that it is better to focus unconditionally on the music than to help out a little everywhere. In this case, the chain of inspiration works with precision: We both concentrate on the essentials. His integrity, talent and professionalism help me and vice versa. So we both help others again. Societal appreciation and value creation can only work together.

www.nikbaertsch.com

“Music for Tomorrow”
The Covid-19 crisis has hit SUISA’s members particularly hard. The main source of income for many composers and publishers has completely been lost: Performances of any kind have been prohibited by the Federal Government until further notice. In the coming weeks, we will be posting portraits of some of our members on the SUISAblog. They will tell us what moves them during the Covid-19 crisis, what their challenges are and what their working day currently looks like. The musicians also performed and filmed their own composition for the SUISAblog at home or in their studio. SUISA pays the musicians a fee for this campaign.
Related articles
Kety Fusco: “This situation will put everyone – musicians, technicians, insiders – to the test”“This situation will put everyone – musicians, technicians, insiders – to the test” With the “Music for tomorrow” project, SUISA aims to support its members in these difficult times. We offer artists a platform where they can talk about their current situation while in lockdown and present one of their works. The prelude is made by the Ticino composer and harpist Kety Fusco. In a written interview she talks about her everyday life in lockdown and why not that much has actually changed for her. Read more
Bertrand Denzler: Sound space surveyor and ambient sound explorerSound space surveyor and ambient sound explorer Saxophonist Bertrand Denzler is always working on new opportunities to express himself in the delicate balance that lies between improvisation and composition. The 55-year-old musician from Geneva, who is now resident in Paris, now intends to extend the frontiers of his artistic dialogue with others even further using “roaming residencies”. FONDATION SUISA is supporting this project financially with Get Going! funding. Read more
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With the “Music for tomorrowˮ project, SUISA aims to support its members in these difficult times. We offer artists a platform where they can talk about their current situation while in lockdown and present one of their works. This week we present the Swiss pianist, composer and music producer Nik Bärtsch and his piece “Modul 5ˮ. In the interview, Nik talks about his everyday life in lockdown with his family and what he has in common with an Australian emergency doctor. Text by Nina Müller; video by Nik Bärtsch, complemented by Nina Müller

Nik Bärtsch (48) is a successful jazz pianist who lives with his family in Zurich. In addition to music, Zurich-born Bärtsch also studied philosophy, linguistics and musicology. It is therefore not surprising that music has a deeper meaning for him....read more

A career as a producer of electronic music?

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

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

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

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

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

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

The SUISA panel at the Electron Festival 2019

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

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

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

Presentation: Anne Flament (RTS-Couleur3)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Presentation:
Nina Havel, Zurich

www.m4music.ch

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Festival Archip-elles – Women PowerFestival Archip-elles – Women Power The Geneva Festival for contemporary music creation has dedicated itself to music originating from the pen of women for its 2019 event. Archip-elles presents works by female composers of various generations, origin and aesthetics. On Friday, 05 April 2019, SUISA members are invited to a visit at the Festival. Read more
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Have you ever wondered how hits are created? How a song comes into existence which lets the feet across generations tap to the rhythm? SUISA has been researching these questions and is organising a panel on this topic at the M4music 2019. Text by Erika Weibel

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

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

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

Festival Archip-elles – Women Power

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

Festival Archip-elles – Women Power

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

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

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

Invitation for SUISA members

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

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

Round Table Discussion: To be a female composer in Switzerland

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

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

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

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

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

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

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

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

www.archipel.org, festival website

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

Festival Archip-elles – Women Power

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

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

“You write more songs than fit on an album” | plus video

When we visited him in his studio in January 2018, the long-term SUISA member Marc Sway allowed us a peek into his creative activities and his professional life as a musician. Mid-October 2018, his single “Beat of My Heart” was released as the precursor for his next album whose creation process was one of the main subjects in the video interview. Text and Video by Sibylle Roth

Marc Sway has been a SUISA member since 2003. After his recently intensive period of performing live, he is even more excited when it comes to recording his next album. His last album, “Black & White”, was released in 2014.

Songs for the coming album have been created over the last three years jointly with his long-term partner lyricists and musicians. “If you make music together you are together so many times and at such close proximity that you only want to do that with really good friends”, Marc Sway says. “That’s why I have been collaborating with the same songwriter partners for years.”

During our conversation, the 39-year-old states that songwriting has an enormously big influence on what an album is going to sound like; after all he creates the foundation to it with his compositions. Marc Sway further explains that he likes to have an objective and a concept in mind, and he is convinced that “each album is a chance to reinvent yourself”.

The single “Beat of My Heart” will be released in mid-October 2018, the new album “Way Back Home” will be published in spring 2019.

www.marcsway.ch, Marc Sway website

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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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When we visited him in his studio in January 2018, the long-term SUISA member Marc Sway allowed us a peek into his creative activities and his professional life as a musician. Mid-October 2018, his single “Beat of My Heart” was released as the precursor for his next album whose creation process was one of the main subjects in the video interview. Text and Video by Sibylle Roth

Marc Sway has been a SUISA member since 2003. After his recently intensive period of performing live, he is even more excited when it comes to recording his next album. His last album, “Black & White”, was released in 2014.

Songs for the coming album have been created over the last three years jointly with his long-term partner lyricists and musicians. “If you make music together...read more

SUISA remuneration is subject to AHV (pension) contributions

Copyright royalties paid out by SUISA are deemed as earned income from independent activities and therefore have to be taken into consideration for the Swiss Compensation Office (pension funds). That way, later claims and pension reductions at a later stage in life can be avoided. Text by Martin Korrodi

SUISA remuneration is subject to AHV (pension) contributions

Many musicians have several income streams. These can include concert fees, honorariums for commissioned compositions as well as salaries for working at a music school or in an orchestra. Copyright royalties paid out by SUISA are yet another income category. It is worth making retirement provisions and therefore to pay AHV contributions (pension scheme contributions) on the relevant income. (Photo: Crafft)

All authors who receive remuneration from SUISA for the usage of their works have to declare it as income and pay taxes on it as well as settle the respective social security payment contributions with the pension funds. The remuneration paid out by SUISA is deemed as earned income from independent activities and are thus subject to AHV (pension) contributions.

If the income from independent activities within a year do not amount to more than CHF 2,300, the Compensation Office will only claim the amounts upon request (see info box at the end of the text). Nevertheless it is recommended that members settle smaller amounts, too: This helps to avoid potential contribution gaps which would lead to pension reductions at a later stage in life.

Especially in the case of freelance music creatives it is worth the effort to request a statement of account from the respective Compensation Office branch in order to discover any contribution gaps they might have. If these gaps have arisen over the last five years, the missing amounts can still be paid in.

The tax authorities notify the data in relation to the assessable income to the compensation offices. Based on this data, the Compensation Office can then determine that no AHV contributions were paid in relation to certain portions of the earned income. They can then claim the missing amounts retrospectively. In the case of such later claims, interest on arrears is due on top. It therefore is well worth while to notify the SUISA remuneration to the Compensation Office in good time and to pay the contributions.

AHV (pensions) – obligatory insurance for all

In the case of the federal retirement, death and disability insurance, insurance is mandatory for all persons who live in Switzerland or work in this country. All insured parties – with the exception of children – are obliged to pay in AHV contributions. In this case the yielded earned income usually acts as the basis for calculation.

In the case of earned income arising from employment this is the salary that the employer has paid out. In the case of self-employment, the amounts are due in relation to the income that has been yielded from self-organised entrepreneurial, operational or business activities.

The following directive can be used as a rule of thumb: AHV contributions must always be paid out on those amounts which you declare in your tax assessment as arising from an occupation. The situation is different regarding income such as revenue gained from capital investment or real estate which are – in terms of tax law – regarded as income but not as earned income in the sense of attracting an obligation to pay AHV contributions.

Copyright royalties are earned income

Not only the composition of commissioned music and stage appearances of performing artists but also the exploitation of rights are a type of occupation by means of which income is generated. As a consequence all authors who claim their rights vis-a-vis users and thus generate licence income are deemed to be self-employed.

This also applies in cases when you have assigned your rights for management to third parties – in this case, this is the norm in the area of non-theatrical music, via collective management by a collective management organisation such as SUISA. If you register with SUISA, you sign a rights administration agreement. With this agreement, members assign their rights to SUISA combined with the instruction to SUISA to carry out the rights management.

In such cases it does not matter, by the way, whether composers – whether as a fixed employee or via a one-off honorarium – have already been paid for the creation of the works and whether AHV contributions have already been paid on said type of income. The exploitation of the rights of your own works is an activity which is independent of the former and it leads to additional earned income. As such, it must be settled with the Compensation Office.

“Exemption limit” up to CHF 2,300 per calendar year

In the case of the exemption limit it is important to take into consideration that this amount includes all income from self-employed activities (cumulative). If SUISA income in a specific year were CHF 1,600 but additional income was generated from independent activities (whether as a main or subsidiary occupation) these types of income must be added to the amount above. If the final total lies above the tax exemption limit, AHV contributions must be paid out to the entire amount – including SUISA remuneration.

In the case of employees (those with a dependent occupation) the tax exemption limit shall also be applicable, but separately on a per-employment basis. If the respective salary is below the amount of CHF 2,300, the amounts will only be collected by request of theemployee. In such cases it is recommended to demand the statement, in particular on occasions when you have held several employments with minimal salaries. Certain employers in the creative sector are obliged to settle AHV contributions from the first CHF 1.00 of salary in order to protect the employees. These include dance and theatre producers, orchestras, audio and audiovisual producers, radio and TV as well as schools offering artistic educations.

If the income is made up of self-employed (independent) and non-self-employed (dependent) activities, the tax exemption limit is usually applicable on a per income category basis. The limit of CHF 2,300 applies for the total of all income from independent activities which includes SUISA remuneration. Salaries that have been paid to you as an employee do not have to be added since the income from dependent (employed) occupation can be regarded separately with respect to the exemption limit as described before.

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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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Copyright royalties paid out by SUISA are deemed as earned income from independent activities and therefore have to be taken into consideration for the Swiss Compensation Office (pension funds). That way, later claims and pension reductions at a later stage in life can be avoided. Text by Martin Korrodi

SUISA remuneration is subject to AHV (pension) contributions

Many musicians have several income streams. These can include concert fees, honorariums for commissioned compositions as well as salaries for working at a music school or in an orchestra. Copyright royalties paid out by SUISA are yet another income category. It is worth making retirement provisions and therefore to pay AHV contributions (pension scheme contributions) on the relevant income. (Photo: Crafft)

All authors who receive remuneration from SUISA for the usage of their works have to declare it as income and pay taxes on...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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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.

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