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(Deutsch) Contrechamps Genève feiert das Hören
Contrechamps Genève celebrates listening: partage ton Vinyle!
A busy season with numerous highlights just started for Ensemble Contrechamps Genève. The programme represents the new direction of Geneva’s most important ensemble for contemporary music under the artistic direction of percussionist Serge Vuille. He took over five years ago and has since radically reshaped the ensemble’s DNA. Conversation with Serge Vuille:
Gabrielle Weber
Contrechamps performs in Geneva’s Victoria Hall, opens the Biennale Musica Venezia as well as Sonic Matter Zurich festivals or simply invites you – without giving a concert – to a vinyl and neo.mx3.ch release listening weekend in Geneva. The different events are characteristic of the new direction of this long-established ensemble under the direction of Serge Vuille.
“Contrechamps seeks balance between different musical practices,” Vuille explains. On one hand, there are concerts with instrumental music for large ensembles, often linked to composers and Switzerland’s French-speaking young music scene; on the other hand, there are projects in connection with other disciplines and musical genres, in combination with visual and performative music, electronics, pop or jazz. Vuille is always interested in very special listening experiences.
The first part was represented at the beginning of the season by a concert to mark the 65th birthday of Geneva composer Michael Jarrell, with a “traditional”, conducted concert for large ensembles in Victoria Hall. Contrechamps commissioned seven new short pieces from its students. “We are thereby supporting and promoting the regional creative scene, which is an important objective for us,” says Vuille.
At the end of 2022, a tribute to Éric Gaudibert had taken place, Gaudibert was a composer from Lausanne who died ten years ago and had a significant influence on the scene. In addition to Gaudibert, 22 new pieces by former students had been performed, miniatures lasting only around one minute each, with very different, freely chosen instrumentation.
Éric Gaudibert, Skript, pour vibraphone et ensemble, Contrechamps, Bâtiment des Forces Motrices de Genève, Concours de Genève, 2009, in house-production SRG/SSR.
In a completely different context and setting, for the Biennale Musica Venezia opening, Contrechamps presented GLIA for instruments and electronics, a work by US electronic pioneer and sound artist Marianne Amacher, who died in 2009. Vuille is also interested in the aspect of special shared listening experiences in Amacher’s work: at the festival opening in a large, empty and darkened hall of Venice’s converted Arsenale shipyard, the large audience (including the author), surrounded by loudspeakers, followed extreme sound changes by wandering around and with the instrumentalists playing on a platform, as vibrating sound sculptures, or moving through the audience. “GLIA is almost a sound installation, part of it actually takes place in the listeners inner ear vibrations, not in the room and it is not based on a score, but on reports from those involved, which demands a high level of creativity from each individual performer,” says Vuille.
Back to the Gaudibert miniatures: they can now be found on one of the new vinyl records mentioned at the beginning and mark the start of the new Contrechamps/Speckled-Toshe vinyl series, together with the Lausanne label Speckled-Toshe. “The 22 composition commissions, each lasting one minute, were an immense amount of work and resulted in such diverse works that we wanted to conclude the homage with a lasting object of this new generation. The vinyl record is the most suitable format for this: there is hardly anything better in terms of recording and transfer quality”.
Daniel Zea, «Eric – Cara de Tigre» for ensemble and tape, one of the 22 miniatures on the new vinyl, Contrechamps / Speckled-Toshe 2023. The story: Gaudibert appeared to Zea in a dream shortly after his death as a laughing tiger: he cried for a long time afterwards between grief and joy.
For the vinyl launch, Contrechamps invited guests to a special listening experience: at les 6 toits, a trendy Geneva cultural centre on a former industrial wasteland, the public could listen to the new vinyl releases as well as its own favourite records in listening lounges during an entire weekend. The newly released Contrechamps audio archive on neo.mx3.ch was also celebrated with a vernissage and there were also live recordings and radio broadcasts on RTS as well as SRF2Kultur about listening and recording contemporary music.
Like vinyl, the SRG online platform stands for a way of listening and a care in production: “There is a link between the two, as they give contemporary music visibility and duration – through both meticulous new editions as well as maintenance of historical archives”.
The platform for Swiss contemporary music also features numerous rarely performed works with unusual instrumentation, such as Michael Jarrell’s Droben schmettert ein greller Stein from 2001 for double bass, ensemble and electronics.
Contrechamps recorded Jarrells piece 2005 in tthe Ansermet radio studio under the direction of George Benjamin, in-house production SRG/SSR.
Contrechamps is gradually opening up the extensive radio archive, going back to the earliest recordings of 1986. It is important that such platforms exist and are appreciated. Many of the pieces cannot be heard anywhere else: that is unique,” states Serge Vuille.
Feux by Caroline Charrière, is another piece to be discovered. Born in Fribourg in 1960, the composer Charrière died young, in 2018, and Contrechamps is committed to her work, as Vuille is also keen to give more visibility to the work of female composers and contribute to a better gender balance in contemporary music.
Feux for Flöte, Clarinette, Marimba and Strings by Caroline Charrière, under the dircetion of Kaziboni Vimbayi, performed by Contrechamps 2019 at Victoria Hall Geneva, in-house production SRG/SSR.
At the opening concert of this year’s Sonic matter festival in Zurich, Contrechamps will present new pieces by three female composers from the Middle East for small electronic ensemble. Vuille’s other passions come together here: “I’ve been very interested in the Middle Eastern scene for a long time. It is very lively in terms of creation, especially in regard of electronics”. The fact that Sonic Matter is collaborating with the guest festival Irtijal from Bejrut this year is an excellent opportunity for the first collaboration and certainly also for unique listening experiences.
Gabrielle Weber
mentioned concerts:
Festival Sonic Matter: Becoming / Contrechamps 30.11.2023, 19h (introduction 18h)
Biennale Musica Venezia, Maryanna Amacher, GLIA / Contrechamps, 16.10.2023
Genève, Les 6 toits: Contrechamps: Partage ton Vinyle!, 20-22.10.2023
Speckled-Toshe; Contrechamps/Speckled-Toshe:
1.Vinyl: 22 Miniatures en hommage à Éric Gaudibert
2.Vinyl: Benoit Moreau, Les mortes
Sonic matter, Nilufar Habibian, Irtijal, les 6 toits
broadcasts SRF Kultur:
Musik unserer Zeit, 18.10/21.10.23: Partage ton Vinyle! Ensemble Contrechamps Genève feiert das Hören, Redaktion Gabrielle Weber
neoblog, 7.12.22: Communiquer au-delà de la musique, Autorin Gabrielle Weber
neoblog, 19.6.2019: Ensemble Contrechamps Genève – Expérimentation et héritage, auteur Gabrielle Weber
broadcasts RTS:
L’écho des pavanes, 21.10.23: Aux 6 toits, enregistrer la musique contemporaine, auteur: Benoît Perrier
Musique d‘avenir, 30.10.23, Partage ton Vinyle, ta cassette ou ta bande Revox! auteur: Anne Gillot
neo-profiles: Contrechamps, Daniel Zea, Festival Sonic Matter, Benoit Moreau
Communiquer au-delà de la musique
Eric Gaudibert, pianist, composer and lecturer from Geneva has been a key figure in the contemporary and experimental music scene of French-speaking Switzerland. Deceased ten years ago, he influenced a whole generation of musicians as teacher and promoted important ensembles for contemporary music. From December 9 to 17, they will jointly organise a tribute festival and concert marathon in Geneva’s Victoria Hall, which will include the premiere of 22 miniatures composed by his former students.
Gabrielle Weber
They are called Contrechamps, Ensemble Vortex, Eklekto Geneva Percussion Center or Nouvel Ensemble Contemporain (NEC) and have two things in common, they are very active in the contemporary music scene of French-speaking Switzerland and they all have a strong connection to Eric Gaudibert.
Daniel Zea, Serge Vuille and Antoine François, artistic directors of Vortex, Contrechamps and NEC, initiated the festival as a collaborative project: “the idea came up spontaneously, talking about Eric and tackling it together came very naturally,” says Daniel Zea, because Gaudibert has been important for the development of the whole scene. The Haute école de musique Genève (HEMG) will host a conference, a film screening with table ronde, and a concert by Vortex, followed by the concert marathon with the HEMG orchestra at Victoria Hall.
Gaudibert described his urge to teach as “communiquer au-delà de la musique”, communicating beyond music. He first experienced this communication in France, where, he worked from 1962 in the fields of “animation” as well as music transmission, in rural regions, after studying piano in Lausanne and composition in Paris. After returning to Switzerland, he taught composition for many years at the Conservatoire Populaire de Genève and then at HEMG. Michael Jarrell and Xavier Dayer, both renowned composers and teachers with roots in Geneva, were his students and he accompanied many other national and international careers as an artistic guiding figure, promoter and networker.
Serge Vuille, director of Contrechamps, did not study with Gaudibert directly, but was still impressed by the “Gaudibert phenomenon” and its lasting presence in the scene, also demonstrated by how quickly other partners agreed to participate in the festival. Contrechamps works constantly with Gaudibert’s former students, be they interpreters or composers. “That’s why I wanted to show this teacher-pupil aspect and its two sides at the festival,” says Vuille.
On one hand, there is Nadia Boulanger, Gaudibert’s theory teacher in Paris: Contrechamps will perform one of her orchestral works. She taught many composers who are now performed all over the world, but her own works are rarely performed. According to Vuille, she is overlooked as composer because she is mainly perceived as a teacher.
On the other hand, Contrechamps commissioned Gaudibert’s former students with short compositions. Considering the high number of 45 graduates, “only” a regionally manageable circle of those still working in or connected with French-speaking Switzerland were asked and, with two exceptions, all of them accepted. “The strong commitment by his students was very impressive,” says Serge Vuille.
Guidelines were a duration of only one minute, but open instrumentation, from large ensemble to solo and even tape, 22 miniatures will now be performed, including works by Arturo Corrales, Fernando Garnero, Dragos Tara or Daniel Zea.
Daniel Zea highlights another aspect of the teacher-pupil communication: “We are all very grateful for what he gave us and what he made possible. At the same time, it was a game of give and take: Eric was open and curious – he was interested in what we were interested in. We influenced him, for example, with traditional music from our countries.” Zea, like some of the graduates of Gaudibert’s composition class, comes from South America. His ensemble Vortex came together in Gaudibert’s classes and was accompanied and supported by him until the end.
Hekayât, pour rubâb, hautbois, hautbois baryton, alto et percussion, 2013, in house-production SRG/SSR, performed by Khaled Arman on the rubâb, an Arabic lute, is one of Gaudibert’s late works, in which he seeks to integrate instruments, their performers, and modes of play from other cultural spaces.
Electroacoustics and diversity
Gaudibert, born in Vevey in 1936, studied in Paris with Nadia Boulanger and Henry Dutilleux. He is best known for his poetic and visual instrumental works, but there are also other, lesser-known sides: Back in Switzerland, he researched electronic sounds during the early seventies in his self-described “experimental” phase at Lausanne’s radio experimental studio.
Vortex’s concert of December 10 is entirely dedicated to his electroacoustic works, which is consistent with the ensemble’s multimedia orientation: “it’s an important phase of his work that is rarely revealed,” says Daniel Zea. Together with John Menoud, composer and multi-instrumentalist, he visited Gaudibert’s widow Jacqueline and together they went through many videos, audio cassettes and scores. Pieces for instruments and tape or live electronics, often performed only once or twice, will be performed by musicians who worked closely with Gaudibert. Benoît Moreau, for example, who will play En filigrane for epinette (spinet) and tape, which was performed only once, by Gaudibert himself, at the premiere 20018 – with Moreau present.
The choice of repertoire for the final concert shows Gaudibert’s versatility. “We decided to combine key works such as Gong – his last major ensemble work – with rarely performed pieces to show the diversity of his oeuvre,” says Vuille. Gong is dedicated to pianist Antoine Françoise, who will also interpret it at the festival, together with Contrechamps. François, now an internationally sought-after solo pianist and director of the NEC, also had a close relationship with Gaudibert, who, pianist himself, accompanied and supported François’ development from their first meeting when he was 16 years and relied on his skills for Gong’s demanding part when he was only 24.
Gong &Lémanic moderne ensemble, in house-production SRG/SSR
In addition to his instrumental works, Gaudibert’s electroacoustic phase will also be represented at Victoria Hall: Vortex performs Ecritures from 1975 for one voice and tape, created in Lausanne’s Experimental Studio, in a new version for four voices distributed in the room. “The piece lives on with new technical possibilities, which would have been in Gaudibert’s spirit,” says Zea. Eric Gaudibert would certainly have welcomed the fact that his former students continue to work together – in communication beyond music.
Gabrielle Weber
Nadia Boulanger, Henri Dutilleux
“Eric Gaudibert, pianiste, compositeur, enseignant”. Film Plans fixes, 48mn, Suisse, 2005 : In this 2005 film portrait, Gaudibert talks about his most beloved themes, such as his fondness for literature and painting, his times in Paris, teaching and the influences of other cultures on his musical work: the film is the focus of a panel at Geneva Festival Gaudibert on December 10.
9/10 décembre 2022, HEMG : Congrès / Concerts : Composers and lecturers Xavier Dayer, Nicolas Bolens and ethnomusicologist as well as interpreter Khaled Arman, among others, will discuss the portrait at HEMG.
17 décembre 2022, Victoria Hall Genève, 18:30h : Concert marathon Contrechamps, Eklekto, le NEC, Vortex, orchestre de la HEMG, chef d’orchestre : Vimbayi Kaziboni, Gaudibert, Boulanger, UA 22 miniatures
Features RTS:
musique d’avenir, 6.2.2023: Festival Gaudibert 2022, author: Anne Gillot
Neo-Profils
Eric Gaudibert, Daniel Zea, Antoine Françoise, Arturo Corrales, Fernando Garnero, Dragos Tara, Ensemble Vortex, Contrechamps, Nouvel Ensemble Contemporain, Eklekto Geneva Percussion Center, John Menoud, Benoit Moreau, Ensemble Batida, Xavier Dayer, Michael Jarrell
Portrait of our time
Gabrielle Weber: Ensemble Vortex @Start of season GdN Basel 24.2.2022
Vortex – the one inside the hurricane, the overpowering one from which one cannot escape. The name says it all: whirling up and remixing – that’s what the Geneva Ensemble Vortex is all about.
In Geneva, in French-speaking Switzerland and abroad, the Ensemble Vortex is an institution – in German-speaking Switzerland it has hardly ever performed. It will now be featured as part of „Focus Romandie“, the French-speaking Switzerland series of Basel’s Gare du Nord opening season.
I spoke with Daniel Zea, composer, co-founder and director, about the ensemble’s perception and direction as well as the upcoming season.
In the beginning, there was a common interest in exploring interfaces: improvisation, jazz, dance, theatre, installation, radiophony and visual arts. “We were united by curiosity for experimentation and fascination for the new,” says Daniel Zea. This led a handful of graduates from the Geneva Conservatoire to join forces and form the ensemble. That was in 2005 and the ensemble decided electroacoustics would always be present which “was not an obvous thing at all at the time,” says Zea.
They come from Switzerland, Europe and South America and most of the founders are still part of the ensemble. In addition to Zea – who grew up in Colombia before moving to Geneva – its members are composers Fernando Garnero, Arturo Corrales and John Menoud, and performers Anne Gillot and Mauricio Carrasco. “We were all still studying and very young: we wanted to hear and play our pieces and those of other young composers. We wanted to work on them as freely as possible, together with the performers,” says Zea. The members – the permanent core counts about ten – often take on both roles.
Vortex exclusively performs new pieces commissioned for the ensemble, they are premiered and then added to the repertoire. Some 150 new works have already been written by a large circle of composers.
An important pioneer was Geneva composer and lecturer Eric Gaudibert, who supported the ensemble’s founding and stood by its side until his death in 2012. “Eric Gaudibert was an important personality for the new music scene in French-speaking Switzerland and for Vortex. He had a great network, inspired and advised us and made many things happen” says Zea. To close the season, Vortex is therefore organising a mini-festival in Geneva in order to commemorate the 10th anniversary of his death. This will take place in December, as – unlike those of other actors – Vortex’s seasons are based on the calendar year.
Eric Gaudibert, Gong pour pianofort concertante et ensemble, Lemanic Modern Ensemble, conductor William Blank, 2011/12, inhouse-production SRG/SSR
They always have a main theme. In season 17, the motto is ‘Resonance comes between notes and noise’ and the focus ison society after the pandemic, which reshuffled the parameters of our dealings with each other and shifted many things towards digital. Present times face a lot of pressure, which is what they want to express, says Zea.
Good examples are the two pieces to be performed in Basel at the opening of the season: The Love letters? by Zea (premiere 2019), and Fabulae by Fernando Garnero (premiere 2016). “Both pieces reflect today’s society in different ways and paired they form a portrait of our time,” says Zea.
“Staging the weakening of the human being through technology”.
In The Love letters? two performers – a man and a woman – sit opposite to each other, both at the computer. Movements, facial expressions and glances are recorded and shown on a large video screen – live, delayed, superimposed, alienated – and translated into electronic music and text.
Daniel Zea: The Love Letters?, Ensemble Vortex: Anne Gillot, Mauricio Carrasco, world creation 2019
Zea questions communication in digital space through facial recognition. In search engines, smartphones, social media or state surveillance, it is used by algorithms, usually without us being aware of it. The title carries a question mark: Is what is recorded/shown real or is it the real actors on stage? Can feelings exchanged via digital devices be ‘real’?
“Love Letters? is a love dialogue that shows how absurd today’s communication has become. Social media are taking over, the work stages weakening of the human being through technology,” says Zea.
For Zea, the piece, which was written in 2018, is almost prophetic as during the pandemic, digital communication became omnipresent.
Alienate the supposedly familiar
Fernando Garnera’s Fabulae also alienates the supposedly familiar through additional perspectives. Video, electronics and additional texts add further narrative levels to well-known Grimm fairy tale Cinderella and expose outdated moral concepts. Thus, it is transposed into a bizarre digitally transformed present-day future.
“Behind this lurks a hidden critique of today’s capitalist society, intensified by the pandemic,” says Zea.
Fernando Garnero, Fabulae, Ensemble Vortex, world creation 2016
A radically different approach to our society is conveyed by the season’s following project: Suma, a collaboration with the Cologne’s Ensemble Garage. Starting from the question of how music could be made differently today, together and in the present, now that working together from different places became a habit. The result is a kind of answer to the pandemic, says Zea. “We are collectively creating a common contemporary ritual through which music reconnects with the ‘sacred’, with nature, based on memory, ritual and shamanism. In doing so, we question today’s role of technology and communication.”
Composer’s next generation
Vortex also regularly focusses on the next generation – not least to remain ‘young’ itself. Its biennial interdisciplinary laboratory Composer’s next generation promotes young talents. In 2021, it took place for the fourth time with five young composers or sound artists selected through a call for projects. Vortex then works closely with them for a season, the result is a carte blanche at the Archipel Genève new music festival and follow-up commissions at l’Abri, a venue for visual and sound art in the heart of Geneva. In this way, Vortex continues to bind participants to the ensemble and the Geneva scene. “Participants included Cloé Bieri, Barblina Meierhans and Helga Arias – all of them were still kind of beginners at the time and are now travelling internationally and continue to be closely associated with Vortex,” says Zea.
Vortex is stirring things and shaking them up – also in Geneva, as most of the region’s contributors are associated with the ensemble through joint projects by now, plus of course the Vortexians have also made a name for themselves individually at home and abroad.
Gabrielle Weber
Ensemble Vortex, Daniel Zea, Chloé Bieri, Anne Gillot, Mauricio Carrasco, Ensemble Garage, Festival Archipel, L’Abri, Festival acht Brücken Köln
upcoming concerts Ensemble Vortex:
23.2.22, 20h, Gare du Nord Basel: The Love letters? / Fabulae, after concert talk with the participants
Suma: Ensemble Vortex & Ensemble Garage:
6.4.22 Archipel; 2.5.22 Köln: Festival acht Brücken
remember Eric Gaudibert – Mini-Festival: 10./17.Dezember 22, Genf
neo-profiles:
Daniel Zea, Ensemble Vortex, Eric Gaudibert, Arturo Corrales, Fernando Garnero, John Menoud, Barblina Meierhans, Helga Arias, William Blank, Lemanic Modern Ensemble
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.
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.
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
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