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“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

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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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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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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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