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“creating something that moves people”

The submission deadline for Impuls neue Musik’s funding 2020 is the first of May.

The competition is looking for music projects contributing to the exchange between German- and French-speaking regions, as well as cultural areas throughout Germany, France and Switzerland.

Brigitta Muntendorf, Room © Brigitta Muntendorf

Impuls neue Musik is a transnational funding programme for contemporary music. Since years the project fund commits to creating links between the music scenes of Germany, France and Switzerland, i.e. through ‘idea workshops’ giving a concrete expression to cultural exchange on international level. In 2020, two new jury members joined the board: German composer Brigitta Muntendorf and French journalist Anne Montaron.

Gabrielle Weber interviewed Brigitta Muntendorf regarding Impuls neue Musik, the current situation, digital networking and long-term potential of international cooperation.

Brigitta Muntendorf, you usually travel a lot and constantly work with different teams and partners in different places: tell us about the current situation?

I’m currently working from home – like any other musician or composer – as all planned events have been cancelled for the time being. Trying to change that, wanting to travel or mourning cancelled events wouldn’t make any sense. What makes sense is to trust the artists, their creativity and capability to come up with ideas.

“Music can be many different things and have different meanings” 

How would you personally like to contribute to Impuls neue Musik?

I am curious about themes and questions other artists or ensembles deal with, as well as the connections they seek and their motivation to do so. That’s the approach I would like to keep, when looking at projects. Artistically, I believe that contemporary music can be very broad and I would like to encourage that.

What is special about the Impuls financing…?

The focus being on international cooperation and internationality always carries the challenge of thinking on a larger scale.


Joint adventure, Ensemble C Barré und Neue Vokalsolisten, Eclat 2020

…and the combination of the three countries – Germany, France and Switzerland?

The three countries are geographically close of course, but each of them has its distinctive characteristics: Contemporary Music in France, for example, is based on a compositional background that is completely different from the one of Germany and Switzerland. At the same time, all three countries pursue similar formats, festivals and structures in their current practice. They come from different cultural origins but find themselves in a common performance ground.

“the potential to exit one’s own comfort zone”

What are the challenges of international cooperation? 

Already existing contacts are essential. Many things can only be achieved by joining forces – with partners in one’s own country, but also abroad. As for Impuls Neue Musik, the main questions are: how high is the potential to exit one’s own comfort zone and what are the specific reasons that make a project meaningful and working in the mentioned countries. But curiosity can also be a factor and produce something that no one had foreseen.

… you don’t often get to meet across borders in order to brainstorm.

With regard to climate and climate change, I think it is important to carefully think about why people should meet and when other communicational means might be insufficient. The quality of a meeting primarily depends on how much thought both sides have given it in advance, not on how often one travels from A to B.

What about sustainability – does it make sense to work together just once?

Sustainability plays an important role in cooperation. In not planning single projects, but focusing on long-term cooperation for instance. The longer the planning, the more artistic benefit the partners involved will enjoy.

What do co-production projects achieve better than others?

In co-production projects, the nature of contact has a different quality. Creation is supported as such and in the early stages of a project, the specific peculiarities and characteristics of the participants are strongly taken into account.

We find ourselves in a special situation, with national borders exceptionally closed – do you consider this a threat to the basic idea of Impuls?

I believe that ‘wanting to connect’ across borders is something that is firmly rooted in our minds since the digital revolution at the very latest, especially among younger generations. The current situation calls for a new way of approaching basic questions like: how to make art, how to show art, what is the meaning of art? But also: what new ways and forces could be found in order to connect and cooperate? We have to dwell into digital approaches and interactions – keeping in mind that the digital world also has its limits.

IScreen, YouScream!, Brigitta Muntendorf, Ensemble Garage, Eclat Festival

Which direction could Impuls take in the long run? What is your vision?

Borders between art forms are becoming increasingly blurred – like between music and performance, or music and transmedia. The concept of composer and musical material are also changing. I believe this is where Impuls neue Musik should position itself more strongly and there is an even more sustainable funding project I have in mind, built upon long-term relationships with artists.

Interview, Gabrielle Weber

New jury members 2020:
After studying in Bremen, Cologne, Paris and Kyoto, Brigitta Muntendorf has been awarded numerous prizes, including the “young talents” GEMA Music Authors’ Prize in 2017. She holds a professorship at the Cologne University of Music.

Anne Montaron, Germanist and musicologist, has been working as an author at Radio France (France Musique) for more than 25 years.  Her most famous format is her weekly programme on improvisation: A l’Improviste.

Impuls neue Musik was founded in 2009 on the initiative of the French Embassy in Germany, the Ministère de la Culture et de la Communication, SACEM and Bureau Export de la musique française.  In the meantime, various partners from France and Germany joined the fund’s committee and its financing. Since 2020, the Institut français (Paris) acts as responsible institution, while the fund is managed in Berlin (Director: Sophie Aumüller).

Switzerland joined in 2018 with Swiss Arts Council Pro Helvetia as partner. Jury members for Switzerland are Xavier Dayer, composer, Thomas Meyer, freelance music journalist and Bernhard Günther, artistic director of the WienModern and ZeitRäume Basel festivals.


Shaker Kami, Nik Bärtsch und Percussions de Strasbourg, Jazzdor 2020

Funded projects are regularly shown and enthusiastically received at the most important international festivals. To name a few examples, the French-Swiss co-production between Eklekto, Geneva Percussion Center and the vocal ensemble NESEVEN for the opening of the Wittener Tage für Neue Kammermusik 2019, the Joint Venture project with Marseille’s Ensemble C Barré and the Neue Vocalsolisten at the Eclat Festival Stuttgart 2020 or the world premiere Shaker Kami project, with Nik Bärtsch and the Percussions de Strasbourg at Jazzdor Festival in Strasbourg.

Deadline for applications regarding this year’s funding is May 1, 2020 and only transnational projects with a performance date not earlier than August 1, 2020 will be considered.

Brigitta Muntendorf
Impuls neue Musik / gesamte Jury / neues online-Antragsverfahren,

Neo-Profiles:
Impuls neue Musik, Eklekto Geneva Percussion Center, Nik Bärtsch, Stefan Keller, Xavier Dayer, Trio Saeitenwind

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Happy Birthday Nouvel Ensemble Contemporain!

La Chaux-de-Fonds’ Nouvel Ensemble Contemporain (NEC) celebrates its 25th anniversary this year and invites to its anniversary weekend. “Time to Party” is the event tied to the big birthday concert of Saturday March 14, with works by Anton Webern, Claire-Mélanie Sinnhuber and Daniel Zea, followed by a marathon of mini-concerts from Louis Jucker’s ‘Suitcase Suite’ on Sunday.

Le NEC Nouvel ensemble contemporain © Pablo Fernandez, 25 mars 2017, Temple Allemand, La Chaux-de-Fonds

Jaronas Scheurer
“Most people don’t immediately think of the NEC if questioned about contemporary music in Switzerland, but as soon as the ensemble is mentioned, it brings a smile to their faces.” – says Antoine Françoise, pianist and artistic director of the Nouvel Ensemble Contemporain (NEC, when asked regarding the secret weapon or superpower of NEC. Putting a smile on your face sums up NEC’s philosophy pretty well. About 25 years ago, a group of musicians from La Chaux-de-Fonds gathered together to share their passion for new music.

A group of friends – a solid institution 

A lot happened in the meantime: the group became a solid institution in the Swiss music scene and new musicians, including Antoine Françoise, joined. He first joined NEC as pianist, about 13 years ago and replaced founding member Pierre-Alain Monot as artistic director in 2016.


Antoine Françoise dirigiert das Nouvel Ensemble Contemporain in: Mathis Saunier, Palindrome for String Orchestra, am Antigel Festival Genève 2019,

For Françoise, ongoing change is essential. He intends to remain artistic director as long as he’ll be able to change the NEC’s aesthetic and if he can no longer do so, he hopes to hand over the reins to someone with new and fresh ideas. But what remains despite all the change is the common love for music, so NEC can still be summed up as a group of friends who want to share their passion for new music.

A full week of partying

To celebrate its 25th anniversary, NEC is presenting itself and La Chaux-de-Fonds with an entire week of concerts, beginning with a series of mini-concerts presenting solo pieces in various city locations. On Friday, the ensemble will be equipped with self-made instruments to perform the “Suitcase Suite” by punk rock guitarist Louis Jucker, on Saturday NEC will perform the big birthday concert with the fitting title “Time to Party” and for the finale, on Sunday, the NEC musicians will present the mini-concerts’ solo pieces in public.

Portrait Daniel Zea

Saturday’s concert will be particularly representative of the Nouvel Ensemble Contemporain: starting with 1940’s Variations for Orchestra, op. 30 by Anton Webern, one of 20th century music most important work, arranged for ensemble by its former director, Pierre-Alain Monot followed by “Soliloque” by French composer Claire-Mélanie Sinnhuber. It is the first time that NEC will play a one of Sinnhuber’s works. The piece “Pocket enemy” from 2017 by Colombian composer Daniel Zea, who has worked with NEC on several occasions and composed “Pocket enemy” for Antoine Françoise, will complete the evening.


Daniel Zea, Pocket enemy, Ensemble Vortex, 2017

So first a classic of the 20th century with a greeting to the former conductor Pierre-Alain Monot, followed by a more recent work by a friend of the ensemble and the discovery of a new composer – a good summary of NEC’s philosophy. All three pieces are written for a large ensemble so that, as many NEC musicians as possible, can be involved. Françoise’s only rule for putting together NEC’s programmes is the following: “I don’t shape the programmes to please the audience, but to please my musicians and when musicians are happy, I know the audience can feel it.” Goes with NEC’s goal to put a smile on everyone’s face… 
Jaronas Scheurer

Les musiciens du NEC © 2019 Pablo Fernandez. La Chaux-de-Fonds, février 2019

friday, march 13, 6:30pm, opening and vernissage, Théâtre ABC, Ausstellung: Annick Burion & Pablo Fernandez (opening hours Sa: 11-24h; So: 11h-20h), musical intervention: Matthieu Grandola
8:30pm Louis Jucker, The Suitcase Suite, Temple Allemand
10pm Marcel Chagrin, tourneur de 78 tours
saturday, march 14, 8:30pm, Time to party, Temple Allemand La Chaux-de-Fonds:
Anton Webern, Variations pour orchestre op. 30, nouvel arrangement pour ensemble Pierre-Alain Monod, création
Claire-Mélanie Sinnhuber, Soliloque pour ensemble
Daniel Zea, Pocket enemy pour sampler et ensemble
sunday, march 15, from 2pm, Miniatures, Temple Allemand La Chaux-de-Fonds
2pm Miniatures I
2:40pm Pierre Jodlowski: Typologies du regard pour piano et électronique
3pm Apéritif SONART
4pm Miniatures II
4:40pm Matthieu Grandola, flûte: pieces from Eliott Carter, Toru Takemitsu, Kaija Saariaho, Ofer Pelz
5:15pm MIniatures III


25ans le NEC: SRF 2 Kultur, Kultur aktuell, 12./13.3.20: editorial Annelis Berger

Nouvel Ensemble Contemporain, Daniel Zea, Claire-Mélanie Sinnhuber, Louis Jucker, SONART – Musikschaffende Schweiz

broadcasts SRG:
RTS, musique d’avenir, editorial: Anne Gillot
SRF 2 Kultur:
Aktuell & Kultur kompakt, 12./13.3., editorial Annelis Berger
Musikmagazin, 14./15.3., editorial Annelis Berger

neo-profiles: Nouvel Ensemble Contemporain, Daniel Zea

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Percussion Threads from Zurich to Mzansi

The Percussion Threads from Zurich to Mzansi concert at Zurich’s Rietberg Museum, is a meeting of both musicians and compositions from Switzerland and South Africa and will subsequently go on tour in the two countries.

Neo Muyanga, Percussion Threads from Zurich to Mzansi, rehearsal @ Museum Rietberg © Pascal Schlecht

Katja Heldt
How does classical music sound in the 21st century? How does musical exchange work in the decolonization era? And in what context should it take place?

The Swiss initiative guerillaclassics is engaged in a wide range of projects, searching for answers and investigating the current relevance and formats of classical music. In the spring of 2020, Zurich’s Cosmic Percussion Ensemble will tour South Africa with local musicians.


Cosmic Percussion Ensemble, Trailer

The event will be launched on March 6th with a concert at Zurich’s Rietberg Museum, in which new works by Swiss composer Nik Bärtsch and South African composer Neo Muyanga will be performed as part of the current FIKTION KONGO exhibition.

Hiromi Gut, artistic director and founder of guerillaclassics, who initiated this project, explains: “The Congo exhibition features an exciting change of perspective in which young Congolese artists are granted a voice. Our tour is structured in the same way, we work with musicians from Switzerland, Angola, Congo and South Africa and wish to explore different ways of playing”.

Radical and new approach to classical and contemporary music

Since its foundation in 2017, guerillaclassics has been committed to radically rethink both classical and contemporary music’s long-established structures, regarding both concert business as well concept and settings. Their diverse programmes pursue the clear goal of bringing what was usually relegated to concert halls into everyday life. The more unusual the setting, the better, whether on the road, construction sites or at a sport event in the mountains with a local yodelling club: guerillaclassics operates at the intersection of music with drama, dance and theatre, by changing the context of musical experiences with unusual concert formats.

“With guerillaclassics I wanted to fulfill the dream of making classical music an everyday part of society. To achieve this, the music must take place outside the confines of a shielded concert hall and brought into the various communities” says Hiromi Gut. For Gut, dealing with the history of apartheid and the strong social differences that still exist in South Africa is an important aspect of this project: “We play at sunrise for the commuters at Park Station in Johannesburg, Africa’s largest train station. Playing in a public space has a special relevance as access to classical European music is still associated with a white minority in South Africa”.

A link between cultures

For the South Africa tour as well as the concert at Rietberg Museum, the two composers Nik Bärtsch and Neo Muyanga have written pieces that deal with cultural exchange but also with their musical origins, placed in a larger context. The works of Zurich composer Nik Bärtsch explore different musical genres and traditions, searching for connections between cultures.


Nik Bärtsch, Ronin: Modul 45

For the journey, Bärtsch composed COSMIC APPROPRIATION for the four percussionists of the Cosmic Percussion Ensemble. He describes his approach as follows: “When composing, I like to use instruments as well as ritual techniques from different regions of the world and I am personally much more interested in how sound and playing techniques can be used, rather than in the origin of instruments. I don’t believe that music is a universal language, but I do think that there are certain codes, affinities as well as resonance and spaces that are used in the production and reception of music who are in fact universal”.

Portrait Nik Bärtsch © Hiromi Gut

Neo Muyanga also uses various percussive traditions and traditional instruments like the ngoni or uHadi as well as the voice in his composition. The piece combines written elements with improvisation and is designed to incorporate playing styles from different regions such as the Xhosa tradition.

The audience is invited to search for the origins and roots of music and to discover something new in unusual contexts as well as to hear the old in a new way.
Katja Heldt

Trailer guerillaclassics: Percussion Threads from Zurich to Mzansi

Concerts
6.03.2020 19h: Rietberg Museum Zürich (ausverkauft)
8.04.2020, 19:30h: Club Exil, Zürich, extra concert

Nik Bärtsch, guerillaclassics, Cosmic Percussion Ensemble, Museum Reitberg, Neo Muyanga

neo-profiles: Nik Bärtsch, guerilla classics, Cosmic Percussion Ensemble

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Chan e See dänke?

Can a lake think? A musical tribute to the city of Biel
World premiere of Jean-Luc Darbellay’s melodrama “Belena” on February 19, 2020 at Kongresshaus Biel

Sinfonie Orchester Biel Solothurn © Joel Schweizer

Cécile Olshausen
The Biel Solothurn Symphony Orchestra is celebrating its 50th anniversary and to mark the event, its main conductor Kaspar Zehnder has commissioned Bernese composer Jean-Luc a bilingual work focused on the city of Biel and its surroundings.

Accordingly, Darbellay decided to collaborate with two different writers: French-speaking poet and novelist François Debluë and Guy Krneta, who writes his poetry in Swiss-German-dialect, approaching their complex texts musically in the form of a melodrama.

Portrait Jean-Luc Darbellay

Rousseau and melodrama

This genre dates back to the late 18th century and is nowadays rather neglected. Between and on top of the music the words are spoken instead of sung. Its inventor is none other than the Geneva-born, French-Swiss philosopher and composer Jean-Jacques Rousseau, who in 1770 composed the very first melodrama in the history of music: “Pygmalion”.

Rousseau is at the core of Darbellays composition, as François Debluë’s text is based on a fictitious letter by Robert Walser concerning Jean-Jacques Rousseau, namely his stay on the St. Petersinsel in Lake Biel. Rousseau claimed to have spent the best time of his life there in the autumn of 1765. But the city of Berne’s Secret Council expelled the famous philosopher, also from Môtier (Val-de-Travers), where he lived with his companion Thérèse Levasseur, where he was no longer welcome and – so the story goes – stones were thrown at them. This prompts Debluë to a wide rêverie about stones. “Je sais le langage des pierres”. (French in the original text)

Guy Krneta reacts to Debluë’s text with an artistic Berndeutsch language study and develops a monologue on water set on the shores of Lake Biel “Chan e See dänke? Was würd’r dänke, wen’r chönnt dänke? und Steine Het e Schtei mau grännet?”. (Swiss-German in the original text)

 

Portrait Guy Krneta © Guy Krneta

“Schifere” and “Steineln”

The act of “ricochet” or throwing stones to make them bounce on water – “ds’Schifere” in Bernese dialect – is the central connection between Debluë’s and Krneta’s texts. As Krneta puts it: “Wen e Schtei über ds Wasser gumpet, vo Oberflächi zu Oberflächi, chan i ahne, wi’s isch gsi, wo d Schteine no gläbt hei, wo si gfloge sy wi Vögu” (When a stone jumps on water, from surface to surface, you can sense how it must have been, in the old days, when stones were still alive and flying like birds). In Debluë, it is round soft pebbles that bounce on water; if there were children there, they would compete in throwing them (“Steineln”). Mais il n’y a pas d’enfant (But there are no children) – in allusion to Rousseau, who placed his children in orphanages.


,Wenn ich denke‘, Guy Krneta for Jean-Luc Darbellay, Play SRF, Morgengeschichte, 5.10.2019

Jean-Luc Darbellay has decided to compose for this complex literary model, in a way that music does not try to compete with literature, but rather supports the words. The speaker should be able to develop freely and rhythm is therefore never precisely set. Sometimes music takes on an illustrative function, as for example in the case of stones flying over water. But often Darbellay simply leaves a chord to resonate or even completely renounces any presence of sound. In this way, both spoken languages come to full effect in their characteristic style and peculiarity.


Jean-Luc Darbellay, Pour une part d’enfance, für Sprecherin und Ensemble, Melodram über einen Text von François Debluë, 2018

The title “Belena” also refers to Biel, for the city’s name can be traced back to “Bĕlĕna” in linguistic history, although researchers still don’t know exactly what it refers to. Maybe a Celtic sun goddess? Or Belenus as a god of power? It remains a puzzle to this day – but fits this thoroughly “Biel”-related music-theatrical work perfectly.
Cécile Olshausen


Jean-Luc Darbellay, Belena, UA 19.2.2020 SOBS

The Biel Solothurn Symphony Orchestra makes its world premiere recordings available on neo.mx3, like the “Concerto for Violoncello and Orchestra” (world premiere) by Jost Meier,  recorded November 13, 2019 at the Kongresshaus Biel, you can stream here:

Jost Meier, Concerto for Violin and Orchestra, UA 13.11.2019 SOBS

Carnaval Bilingue, 6. Sinfoniekonzert SOBS, 19. Februar 2020, 19:30h, Kongresshaus Biel, Sinfonie-Orchester Biel Solothurn, Kaspar Zehnder – Leitung, Isabelle Freymond – Sprecherin
Programm:
Antonin Dvorak, Carnaval, Konzertouvertüre op. 92
Jean-Luc Darbellay, Belena, Melodramatisches Konzert für eine Sprecherin und Orchester
Joseph Lauber, Sinfonie Nr.1

Sinfonie Orchester Biel Solothurn, Jean-Luc Darbellay, Guy Krneta

Sendungen SRF 2 Kultur: Im Konzertsaal, Do, 26.3.2020, Di, 19.5.2020

neo-profiles: Jean-Luc Darbellay, Sinfonie Orchester Biel Solothurn

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“Tausendsassa” of contemporary music

Basel Sinfonietta’s next concert will be dedicated to Heinz Holliger’s 80th birthday and on the same occasion, neo.mx3.ch – the new SRG platform – will be launched in the German-speaking part of Switzerland.

Heinz Holliger © Daniel Vass

Thomas Meyer
The third seasonal concert presented by the Basel Sinfonietta, directed by Peter Rundel is entitled “Tausendsassa” (Jack-of-all-trades), referring to Swiss composer, oboist, conductor, pianist, etc. Heinz Holliger, whose role and contribution to Swiss music has been decisive over the last six decades. Here is not the place to present our readers the list of the many achievements and qualities gained by this musical personality, from his excellent interpretations to the instrumental inventiveness (the oboe sounds different after Holliger) and compositions, not to mention his enthusiasm for his colleagues and for literature. There wouldn’t be enough room anyway.

I would rather like to emphasize – as a personal reminiscence – the unconditional, fervent passion with which this full-blooded musician engages himself. I first met him when I heard his “Siebengesang” many decades ago. From the first note of the oboe, one remains pervaded by this composition, which has considerably changed over the decades, but without losing its intensity.


Heinz Holliger, (S)irato, Monodie für grosses Orchester (1992), Basel Sinfonietta Musicaltheater Basel 2020

After his 80th birthday in May, Heinz Holliger has been honoured in many ways and places and never lost the occasion to support music by accepting the awards and tributes. The Basel Music Academy is currently focusing on Holliger, although he never permanently studied or taught there and numerous events are scheduled until March 9, while the Vera Oeri Library also houses a highly informative exhibition about the musician.

The composing interpreter

His music is now appearing in several facets at the Basel Sinfonietta as well. On one hand, the composer with his orchestral piece (S)irató from 1992, on the other hand the composing interpreter with two Liszt transcriptions, in which Holliger did not simply orchestrate late piano pieces, but so to speak, continued composing them into the orchestra. In his own words: “an attempt to “push” (transcribe) these two enigmas of the late Liszt – who stand like erratic blocks, but also signposts into the unknown of the late 19th century musical landscape – into my own way of communicating, thinking and so to speak retrieve them from my subconscious”.

Heinz Holliger © Priska Ketterer / Lucerne Festival
Heinz Holliger © Priska Ketterer/ Lucerne Festival

All his life, Holliger committed to the music of his colleagues, commissioned and/or conducted new pieces. Thus, the orchestral work “Tenebrae” by Klaus Huber, who died in 2017, will also be presented.


Klaus Huber, Tenebrae für grosses Orchester (1966/67), Basel Sinfonietta, Musicaltheater Basel 2020

In addition, a very recent piece by German composer, pianist and singer Steffen Wick: “Autobiography” will be performed for the first time in Switzerland, commissioned by the Basel Sinfonietta. The composition aims to describe that moment in which a whole life, condensed, passes by.

Steffen Wick, Autobiography, UA 2020 Basel Sinfonietta

Launch of neo.mx3 in the German-speaking part Switzerland

An excellent opportunity to present neo.mx3.ch – the new Swiss platform for contemporary Swiss music – which SRG has launched as pilot project in 2019.

Neo.mx3.ch offers an overview of the current composed and improvised musical landscape of the entire country, but also covers international events with a connection to Switzerland, such as the recent premiere of Olga Neuwirth’s opera “Orlando” in Vienna with the participation of Swiss percussion soloist Lucas Niggli. A place for previews, portraits and debates, but also for discussions via the neo-blog, moderated by editor Gabrielle Weber. In addition, musicians, ensembles and cultural institutions can present themselves in sound, video, image as well as text.

At last, because neo.mx3.ch finally closes a gap that had been lingering in Swiss music since quite a long time. Save the date in your agenda and get ready for a big surprise, for we will not yet reveal what is planned on February 2, for the official Swiss-German launch.
Thomas Meyer

We are very much looking forward to your comments on the neoblog regarding text, concert, neo.mx3 launch as well as the Holliger series on SRF 2 Kultur!

2.2.2020, 19h, 3. Abo-Konzert Basel Sinfonietta, direction: Peter Rundel, Musicaltheater Basel
18:15h introduction: Florian Hauser talks with Heinz Holliger

Program:
Heinz Holliger, Zwei Liszt-Transkriptionen (1986)
Klaus Huber, Tenebrae (1966/67)
Stephen Wick, Autobiography (2017, CH-Erstaufführung)
Heinz Holliger, (S)Irató (1992)

Lancierung neo.mx3: Surprise-Talk:
Florian Hauser talks with:
Barbara Gysi, head radios & Musik SRF Kultur
Gabrielle Weber, curator neo.mx3
Katharina Rosenberger, composer

Basel Sinfonietta, Heinz Holliger, sonic space Basel / FHNW, Mondrian Ensemble, Klaus Huber, Steffen Wick

SRF 2 Kultur:
Kultur-Aktualität, 21.6.2019: Neue Schweizer Plattform für zeitgenössische Musik

Broadcasts SRF 2 Kultur:
Musik unserer Zeit, Mittwoch, 15.1.2020, 20h: Heinz Holliger und die Literatur
Neue Musik im Konzert, Mittwoch, 15.1.2020, 21h: Portraitkonzert Heinz Holliger
Musikmagazin mit Moritz Weber, Aktuell, 1./2.2.2020

neo-profiles: Heinz Holliger, Basel Sinfonietta, Klaus Huber, Mondrian Ensemble, Katharina Rosenberger

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Melancholic elegance

Concerto en Sol – the new cello concerto by grandmaster Wolfgang Rihm – will start its world premiere tour from January 20 onwards. “Sol” stands not only for the key but is also referring to the exceptional cellist Sol Gabetta, to whom the work is dedicated. In this interview Wolfgang Rihm talks about the background and the particular period of his life in which the piece was composed, but also tells us about inspiration and interpretation of his works.

Wolfgang Rihm Portrait ©Wolfgang Rihm

Gabrielle Weber
Mr Rihm, after being awarded the author prize for your lifetime achievement at the beginning of 2019, your creative frenzy continues. You are at currently in high demand as composer, covered with prizes and flooded with commissions and requests: What does it take to secure a commission and how did the new work for the Basel Chamber Orchestra come about?
Sol Gabetta asked me if I wanted to write a concert piece for her more than five years ago. I was very happy and set to work, but a serious illness got in the way and the sketches were left on the table. When I re-emerged in 2017, I immediately tried to continue the piece, which worked fine and I enjoyed it very much, so I was able to complete the concerto in the same year.

What is the piece’s central idea?
It definitely relates on its dedicatee, whose melancholic elegance and powerful lines I appreciate very much. I didn’t want to come up with heavy artillery, but rather linger in the area of transparency and not outwardly turned mobility. What I liked best was the idea that everything unfolds from a vocal perspective – but this is something that applies to almost all my concert works.

Inspiration – a form of enthusiasm

You once said: ‘Inspiration is the only thing an artist possesses – it is all about putting inspiration into action’: What does ‘inspiration’ mean to you?
Inspiration? Maybe it’s a way of being enthusiastic? I can sense this in the fact that the many decisions involved can eventually lead to alternative paths that I would never have thought about at first. My advice: if an artist wants to be “consistent”, he should not want to be inspired – that would only lead to confusion. But since I’m very good at confusion…


Wolfgang Rihm ‘Marsyas‘, Lucerne Festival Academy, Leitung: George Benjamin , 1.9.2019

The solo part is tailor-composed for Argentinian-Swiss cellist Sol Gabetta. Gabetta’s playing style is characterized by both temperament and intimacy. She says that she almost dances on the cello and inwardly sings while playing: (How) were you inspired by a distinctive interpreter like Sol Gabetta?
I try to imagine how the interpreter would handle and respond to my notes – other than that, I write what I imagine as music.

Dmitrij Schostakovitsch, 2. Cellokonzert, hr-Sinfonieorchester | Frankfurt Radio Symphony, Sol Gabetta, Pablo Heras-Casado, Alte Oper Frankfurt, 14. Juni 2019

You usually demand ‘the extreme’ from your performers, whereby things are dared that were unimaginable before the collaboration – how do you get such ‘hidden’ potential out of the performers?
You have to ask the performers that… I think the most important thing is to have something to interpret at all, opening several unexpected possibilities, even to the composer. Interpretation is the opposite of ‘execution’. The best interpretation is probably the one that leaves a lot of incalculable things open, without stuffing the listeners with apparent certainties.

Melancholy – yes. But not too much darkness.

So every new work bears something unexpected for you too: were you surprised yourself while composing ‘Concerto en Sol’?
I hope that the piece develops and flows naturally. As if an event were to emerge out of context and give rise to the next one.

What surprised me was that after a long experience of illness three years ago, I was able to keep a relative state of ease throughout the piece. Melancholy – yes. But not too much darkness.

Sol Gabetta © Julia Wesely

What can we expect in terms of sound and look forward to in particular? 

The possibility of some kind of casual – unspectacular achievement…
Interview Gabrielle Weber

The program will combine Igor Stravinsky’s “Concerto in Re”, composed for Paul Sacher in 1947 and commissioned by KOB for the orchestra’s 20th anniversary, with Wolfgang Rihm’s “Concerto en Sol” and will be complemented by Felix Mendelssohn’s “Scottish Symphony”.

The Geneva concert will be recorded by RTS and made available immediately on neo.mx3 in full length.

We are looking forward to your feedbacks on the individual concerts on the Neoblog!

Concerto für Sol, Kammerorchester Basel, Leitung Sylvain Cambreling
Igor Strawinsky, Concerto in Re für Paul Sacher, UA KOB 1947
Wolfgang Rihm, Concerto en Sol für Sol Gabetta, Auftragswerk KOB, UA
Felix Mendelssohn Bartholdy, Sinfonie Nr. 3 a-moll Op. 56 (‘Schottische‘)

concerts
Montag, 20.1., 20h: Genf, Victoria Hall
Dienstag, 21.1. 19:30h: Zürich, Tonhalle Maag
Mittwoch, 22.1. 19:30h: Bern, Kultur Casino
Donnerstag, 23.1., 19:30h: Basel, Martinskirche
Freitag, 24.1., 20:30h: Grenoble | F, MC2: Auditorium
Sonntag, 26.1., 20h: Freiburg | D, Konzerthaus

broaadcaasts SRG:
21.1.20: Kritik UA Genf in Kultur kompakt
22.1.20, 22h: SRF Kulturplatz
25.1.20, 10h / 26.1., 20h: Musikmagazin, Café mit Sol Gabetta
30.1.20, 20h: RTS Espace deux: Le concert du jeudi
20.2.20, 20h: SRF 2 Kultur: Im Konzertsaal

neo-profiles: Kammerorchester Basel, Lucerne Festival Academy, Lucerne Festival Alumni, Sol Gabetta, Wolfgang Rihm

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GRINM action group is evolving

More diverse and gender-equity oriented practices in New Music: Vision, Option or Must?

In mid-November, three days of meetings and conferences with international figures were held at the Zurich University of the Arts (ZHdK) in order to exchange experiences and visions regarding the future.
‘Positionen’-Editor Bastian Zimmermann was there and draws his conclusions.

GRiNM Network-Conference ZHdK © Gender Relations in New Music/ Gözde Filinta

 

Quite far from the first and kind of subversive meeting held in a camping tent during the Darmstadt Summer Courses 2016, the GRiNM (Gender Relations in New Music) group is rapidly growing into an important platform where gender and diversity issues in contemporary music can be addressed and debated. The loose group of committed protagonists in the field of contemporary music met at the ZHdK and for the first time without the need to bind to another New Music festival.

They came together from Berlin of course, but also different parts of Europe and even Canada, with the mutual goal to present projects and strategies aiming at the development of a more diverse musical world based on gender equity, learn from each other and – at best – initiate and decide on new projects together. Although the rather unpleasant wish of an “outcome” usually hovers over so-called “network meetings”, this weekend undeniably enjoyed some kind of general “flow”. This may well be due to the fact that the GRiNM co-founders Meredith Nicoll, Brandon Farnsworth, Lucien Danzeisen or Rosanna Lovell, as well as all those who joined them, are driven by a real concern: The horrendous imbalance in the music business with partly 100 percent white male economy to be pointed out and concretely brought into an opposite “even harder imbalance”. Through actions such as statistical analyses, their publication and a call for change, GRiNM drew attention to the imbalance so successfully that currently vacant artistic leadership positions are hardly filled ‘only’ by men.

Karlheinz Stockhausen: Mikrophonien, 1966, Filmstill ©Stellan Veloce | GRiNM

As a result of this attention, numerous leading male actors gathered in Zurich to reflect on the music business as well as their own work. Thorbjørn Tønder Hansen from the Ultima Festival in Oslo for example, who reported on the challenges of implementing changes or experiments like an all-female festival into a large complex of cooperation partners and donors. Dahlia Borsche discussed these difficulties within the DAAD (Deutscher Akademischer Austauschdienst).

The network for women and non-binary persons Konstmusiksystrar (Art-Music-Sisters), represented by Anna Jackobsson and Rosanna Gunnarsson, presented, among other topics, a possible radical breaking through statute regarding common curatorial conventions: The idea to chose works received through calls for application randomly – which is in many ways challenging for the current mindset, an issue that has been subsequently discussed further.

Konstmusiksystrar – sisters in contemporary music ©Hampus Andersson

There have also been attempts to discuss a “Global Music Network Initiative”, but this turned out to be a somewhat utopian undertaking with regard to inclusion and exclusion of musical genres and practices.

Each one of the three days started with a keynote speech, on the first day by Christina Scharff, a brilliant rhetorical and analytical lecturer at King’s College in London, on the thought of gender categories in contemporary music. Most productive, however, were the multiple initiated, moderated, but still open discussions and round tables among some 40 participants: On the basis of individual statements, such as “how to deal with the strengthening right-wing movement in the curatorial/artistic context”, the group discussed solutions in a lively and focused manner. And all this within a GRiNM framework in which more and more people who want to change something in the hierarchically organized music business will be able to gather in the future.
Bastian Zimmermann

Some of the most recent engagements on the Swiss side were presented by Serge Vuille for Contrechamps Geneve, ZHdK and FHNW, Global Music Network Norient, Katharina Rosenberger from San Diego or SONART, Musikschaffende Schweiz.

Überläufer – Eine performative Klang-Raum-Komposition zu Wandel und Migration (Trailer), UA 2019 ©ZeitRäume Basel 2019

There is still quite some work to be done in Switzerland: Join in the discussion, share your experiences, thoughts and suggestions here on this blog. We are happy to exchange views on gender and diversity in New Music.

Whishing you a great start into the new year!
Gabrielle Weber, Editor/Curator of neo.mx3.ch

GRiNM, positionen.Berlin, Ensemble Contrechamps Genève, FHNW | Sonic Space Basel, Norient-Space, SONART – Musikschaffende Schweiz, Katharina Rosenberger

Read also: Neo-Blog:
GRiNM? = [GRiNäM]!: Interview with Brandon Farnsworth by Gabrielle Weber
Ensemble Contrechamps Genève – Expérimentation et héritage: Interview Serge Vuille / Contrechamps by Gabrielle Weber

Neo-profiles: Zürcher Hochschule der Künste, Contrechamps, Festival ZeitRäume Basel, Katharina Rosenberger

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Contemporary music in Ticino

Autumn is when the musical seasons traditionally start, in Ticino as elsewhere. Contemporary music has its own niche in the Italian-speaking part of Switzerland, having a peculiar geographical structure with a relatively large area and uneven distribution of population.

Alberto Barberis: Oratorio Virtuale, a Stradella Reloaded, Eutopia Ensemble / 16 .10.19 Villa del Principe, Genova @Ommegraphie

Nadir Vassena
Except for punctual or short events, the continuous presences, spread throughout the year are actually few. Among them, two in particular have marked and are still marking the cultural diversity of Italian-speaking Switzerland.

Oggimusica

The first is the 1977 founded association Oggimusica, which has distinguished itself for years as the only institution organizing events in the most diverse present genres: from contemporary music to jazz, from rock to improvisation and world music. Many important artists, now considered part of the musical history of the second half of the twentieth century, such as Philip Glass, Karlheinz Stockhausen, Cathy Berberian, Steve Reich, Egberto Gismonti, Fred Frith, Laurie Anderson, Iva Bittova, Irène Schweizer, Luciano Berio and many others have been invited – often for the first and only time – to Ticino by Oggimusica.


Alberto Barberis: Oratorio Virtuale, A Stradella reloaded

The peripheral situation of the Italian-speaking part of Switzerland was obviously very different at the end of the seventies compared to the present day, but Oggimusica remains one of the few opportunities for musicians from other Swiss regions to have their contemporary voice heard in Ticino. During this 2019-2020 season, for example, this will be the case for the Neuma ensemble and their interplay between the voices and saxophones of Dominique Vellard and Giacomo Schiavo (tenors) and Pierre-Stéphane Meugé and Marcus Weiss (saxophones), skilfully moving between ancient and contemporary music, but also for the improvised music of Âme Sèche (Walter Fähndrich, Remo Schnyder, Christy Doran, Benedikt von der Mühll) or the Mondrian Ensemble with its “no reality” programme. These are just a few “Swiss examples” of programming.


Nadir Vassena, Markus Weiss, ‘Materia oscura’

EAR

Another more recent initiative, which has reached its fourth season, is EAR: Electro Acoustic Room. Music as pure listening experience. Acousmatic music is a young art form, originating from the radio, born only a hundred years ago.  If the label “Contemporary music” is already ambiguous, stating everything and nothing at the same time, that of “electronic music” is perhaps even more so. The soul behind EAR can be seen, or rather heard, from the programming. It’s not club music, nor 90’s raves or Zurich’s Street Parade, but rather the search for a moment dedicated to intimate, concentrated listening. The verb “to hear” (sentire) can also mean or be synonym of “to feel” in the Italian language and there is an archaic link between the skin and the hearing related to the embryo’s development, as both organs – ear and skin – develop from the same germ layer. Just as touching always gives a feeling to be touched, when speaking, one can always hear the own voice. Knowing how to listen, to oneself and the others, is underestimated and should never be taken for granted as it is the foundation not only of musical experience, but also a fundamental aspect in the sphere of human relations.

Timo Hoogland @Oggimusica

RSI Rete due: Neo

Radio remains the privileged space to talk about (and listen to) these issues, both by vocation and institutional duty. It is therefore a pleasure to learn, that from October 29, 2019, every last Tuesday of the month at 20:05, Retedue of RSI will make room for contemporary music with ‘neo’, a programme curated by Valentina Bensi, that will look for and find material as well as themes on neo.mx3.ch, the new SRG SSR platform for Swiss contemporary music.
Nadir Vassena


Esther Flückiger, Verso Nikà, 2019

Radio broadcasts neo / RSI, curated by Valentina Bensi:
Next episode:
Monday, December 23: meet Esther Flückiger, composer, representing Switzerland at the ISCM World Music Days 2020 in New Zealand.
Tuesday, October 29: meet Alberto Barberis, new artistic director of Oggimusica

Concerts Oggimusica: LAC teatrostudio, 12.1. / 16.2. / 1.4. / 15.5. / 5.6.2020
Concerts EAR: LAC teatrostudio, 28.2. / 20.3. / 24.4.2020

Oggimusica, EAR, ISCM, Esther Flückiger, Mondrian Ensemble, Alberto Barberis, Timo Hoogland

Neo-profiles: Oggimusica, Mondrian Ensemble, Marcus Weiss, Nadir Vassena, Alberto Barberis, Esther Flückiger