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Gabrielle Weber: Interview with Jeanne Larrouturou, Ensemble Batida & Diĝita: Romandie @GdN Basel_1, 26.11.10
The instrumentation is unusual… and convincing: three percussionists and two pianos. Even more unusual is the collaboration with the cartoon collective Hécatombe. At Diĝita, Geneva-based ensemble Batida combines music with comics. On November 26, at the Gare du Nord, focus of the “Romandie” season.
Basel’s Gâre du Nord, the Station for New Music’s main focus extends over three seasons, with three times three concerts. In the long run, this will build solid bridges to the other Swiss language region, which is of high importance, especially now, as the ensembles of the French-speacking part of Switzerland cannot perform there due to the regional lockdown.
Neoblog portrays the guest ensembles and neo.mx3 accompanies the concerts’ live broadcasts together with RTS.
Episode one: Ensemble Batida Genève: A portrait
I met Jeanne Larrouturou, percussionist and co-artistic director, for a conversation via Zoom during the Geneva Lockdown. Larrouturou comes from France, grew up in Geneva, and after her studies at the Haute école de musique Genève (HME), she specialised in contemporary music at the Musikhochschule Basel. Since then she has been acting as bridge-builder between the two regions’ music scenes.
Batida’s lineup was rather accidental. Larrouturou explains that the ensemble originated as a “classic Bartok formation”, referring to Bartok’s 1937/38 sonata for two pianos and percussion. In 2010 four of the ensemble members formed for a concert at the HME and further joint performances followed. When a percussionist left for abroad, Larrouturou stepped in and stayed. The core formation has since then remained unchanged: three percussionists Jeanne Larrouturou, Alexandra Bellon and Anne Briset complement Viva Sanchez Reinoso and Raphaël Krajka on piano.
A stroke of luck, because many new works were created for this unique lineup. On one hand by composers, on the other hand by collective composition of the ensemble’s members themselves, which also began by chance. During a project with a dance company, the choreographer asked Batida to compose something. “This is how the first composition commission happened and we carried on composing together afterwards. Next came music for a project with a puppet theatre,” says Larrouturou.
Ensemble Batida, Haïku, collective composition 2013
“The way we compose strongly draws on experimentation. We start from an idea of general structure, a concept and then we “go”: we play, we listen to each other, record ourselves, listen to the recordings together. We structure, organise and record “. A kind of creation that combines improvisation and notation. Generally, the improvisational elements are retained.
musique de création
Batida does not want to get stuck in a set musical genre. “We see ourselves in contemporary music, but don’t like what’s behind that label very much” says Larrouturou. In France there are several more fitting designations: ‘Musique de création’ is the most appropriate for her: “it’s sufficiently open, but at the same time excludes traditional ‘contemporary music’.”
Ensemble Batida: Mean E, kollektive Komposition 2013
The ensemble has hardly had performances in German-speaking Switzerland so far. After the Concours Nicati in Bern 2014, performances at the festival Zeiträume Basel and in Andermatt followed. Quite the opposite to the Romandie , as well as abroad, where the ensemble performed at many festivals, toured France, Russia, Portugal and Cyprus. Another tour – with Diĝita – was planned in the USA (but had to be postponed due to the pandemic).
Larrouturou explains the meagre exchanges between language regions as follows: “I have been living in Basel for about four years now and my network is in Basel, Geneva and Lausanne. It never ceases to amaze me how little the scenes know each other. At the university in Basel, I noticed that there were fundamental differences in aesthetic orientation. Certain very highly considered musicians in Basel, are hardly known in the French-speaking part Switzerland. The French-speaking part is more closely linked to France, while the German-speaking part is to Germany,”.
Larrouturou curates the Lausanne concert series Fracanaüm together with composer Kevin Juillerat, a fellow student from Basel, based in Lausanne. They try to transcend such divisions. “We don’t even ask ourselves where someone comes from and invite musicians from our network from both regions. I’m convinced that these small initiatives create and develop long term relationships”.
But Batida is also about building bridges between divisions. Most projects are transdisciplinary and developed in collaboration with other artists, with dance, puppet theatre, architecture, video or comic artists.
The collaboration with the Geneva-based drawing collective Hécatombe is ongoing, since their first joint project in 2016.
Ensemble Batida & Hécatombe: Oblikvaj, collective composition 2016-2018
“In our first project Oblikvaj (2016-2018), it immediately became apparent, that we were on the same wavelength. Each of the five members of Hécatombe created a graphic score, in form of a 24-page black and white comic strip and Batida reacted with collective compositions. It worked brilliantly”. Concerts with live encounters followed.
Diĝita is primarily about the joint creation process. “In the summer of 2019 we took a 14-day retreat in an old farmhouse in the middle of nowhere. We didn’t bring any instruments, but collected and recorded existing sounds, for example big machines, tractors and engines.
Diĝita, Trailer ©Gare du Nord, Batida & Hécatombe
The title Diĝita stands on one hand for the ‘fingers’, on the other hand for digital vs. analogue. The recorded and sampled sounds refer to the digital realm, while the music performers work with their fingers. The musicians perform within a transparent cube, with screen-display walls onto which 3D videos by the drawing collective are projected: life-size comic figures on the videos overlap and thus alienate the real bodies of the musicians in the cube.
Diĝita was able to give a concert in Lausanne on 31 October: “It was an extreme experience as we all knew that we wouldn’t be playing live again for a while, so we enjoyed the moment even more,” says Larrouturou. The Diĝita tour with follow-up concerts in Geneva was unfortunately interrupted by the lockdown.
During our conversation, it turned out that Batida is celebrating its tenth anniversary this year. A party with partners and audience is planned in Geneva, but due to the pandemic it will not take place before 2021.
Ensemble Batida: Klaviere: Viva Sanchez Reinoso, Raphaël Krajka
Percussion; Jeanne Larrouturou, Alexandra Bellon, Anne Briset
Diĝita: Video: Giuseppe Greco, Ton: David Poissonnier
Gare du Nord: Batida & Hécatombe: Diĝita, 26.11.20, 20h
(because of lockdown in Basel, they played twice for 15 persons, combined with a Livestream for everybody else)
l’écho des pavanes, 20.11.20, rédaction Anne Gillot, Gespräch mit Désirée Meiser, Intendantin Gare du Nord
broadcast SRF 2 Kultur:
in Musik unserer Zeit zu neo.mx3, 21.10.20, Redaktion Florian Hauser / Gabrielle Weber
17 new streaming productions during lockdown: 6.-29.11.20
The city of Vienna is going through troubled times. Hit hard by the pandemic and declared quarantine region at an early stage, then locked down at short notice during the month of November. Not to mention the outrageous terrorist attack. The unique Wien Modern music festival happens to be, both in terms of time and geography, in the midst of it, as it’s usually staged in various locations of the city centre throughout the month.
Under the slogan Stimmung (‘mood’ as well as ‘tuning’), the festival traces the current 2020 mood in complex and diverse ways. 44 new productions and 85 new pieces should have been performed, over 32 days, but only the opening weekend could take place in front of an audience, showing six productions, a mere 14% of the total programme.
On the third (as well as second-last) evening, the premiere of Edu Haubensak’s “Grosse Stimmung” could be presented. Wien Modern spared no effort and – almost in anticipation of what was to come – the Wiener Konzerthaus’ auditorium was emptied for eleven differently tuned grand pianos. The audience was, of course, still present – but in the stands only.
This allowed Haubensak’s work to be experienced live and in its integrity for the first time. After partial performances, the planned integral premiere at the Ruhrtriennale had to be cancelled in summer due to the pandemic. Despite quarantine, the three Swiss pianists Simone Keller, Tomas Bächli and Stefan Wirth were there to perform.
Then came the lockdown with its banned events and curfew. The quick decision in response was that a total of 24 events, i.e. more than half of the concerts, will now be performed without an audience and streamed free of charge.
Five days only after the lockdown was declared, the first streaming concert took place in front of an empty Musikverein hall on the 6th of November: the world premiere of Sofia Gubaidulina’s long-awaited new orchestral work “Der Zorn Gottes” performed by the Vienna Radio Symphony Orchestra (RSO) and directed by Oksana Lyniv. The planned premiere at the Salzburg Easter Festival with the Staatskapelle Dresden and Christian Thielemann had already been cancelled after several postponements.
The fact that it eventually premiered online is of significant importance given the situation as well as the terror that Vienna had to endure. Gubaidulina sees the performance as a sign of peace in times of increasing hatred and “a general overstrain affecting civilisation”.
Klaus Lang: tönendes Licht
Livestream from Stephansdom Wien: Klaus Lang, tönendes Licht, world creation 19.11.20
Other important highlights are a concert with three world premieres on November 18, in the Vienna Konzerthaus. In addition to new works by Friedrich Cerha and Johannes Kalitze, a piece by Matthias Kranebitter, winner of the Erste Bank Composition Prize, will be premiered – “a new encyclopaedia of pitch and deviation”. Performed by Klangforum Wien and directed by Kalitzke himself. On November 19, live from Vienna’s St. Stephen’s Cathedral, the premiere of the “giant organ concerto” (cit. Wien Modern) “tönendes licht” by Klaus Lang, for a space wise dispersed Vienna Symphony Orchestra, directed by Peter Rundel.
20 years Ensemble Mondrian – Anniversary concert in Vienna:
This production has unfortunately been postponed to 2021, due to Swiss quarantine regulation guidelines.
There is also something to be heard from the Swiss side: On November 21, the Mondrian Ensemble will mark its 20th anniversary by presenting works by Martin Jaggi and Thomas Wally, both long-time collaborators of the Basel based ensemble.
Ensemble Mondrian, Thomas Wally, Podcast
Premieres of Andres Bosshard with Zahra Mani and Mia Zabelka, however, had to be postponed to November 2021. Same for Basel ensemble Nikel’s concert with works by Thomas Kessler and Hugues Dufourt.
Bernhard Günther, artistic director of Wien Modern, made the following statement in a in-depth reflection on the lockdown and the cultural mood in Austria: “The current mood here indicates that clear signals are urgently needed to prevent culture from being perceived as a victim of the health system, winter tourism in the mountains and Christmas shopping. A captain must of course try and avoid the iceberg, but at the moment he must also do everything he can to prevent the ship from sinking on the opposite side”.
Through streaming, Wien Modern now tries to maintain Vienna’s cultural life and make part of it accessible. Perhaps – to stick with the festival’s motto – the actual mood can be somewhat improved, even if this doesn’t diminish the life threatening situation that cultural production is currently facing.
To express our solidarity, SRF 2 Kultur and neo.mx3, are pleased to inform their public, users and listeners regarding the different streaming possibilities and details.
Broadcasts SRF 2 Kultur
Kultur kompakt Podcast, 9.11.20: Theresa Beyer, “Der Zorn Gottes” entlädt sich im Stream zur UA Wien Modern, Sofia Gubaidulina:
Neoblog, Corinne Holtz: Wenn aus Leidenschaft Subversion wird – Portrait Simone Keller
Kontext, 21.10.20, Corinne Holtz: Zehn neu gestimmte Klaviere
In Musik unserer Zeit, 21.10.20: Florian Hauser / Gabrielle Weber: zu neo.mx3: Simone Keller & Edu Haubensak
Christian Fluri / Gabrielle Weber: Interview Martin Bliggenstorfer – 10 years ensemble proton bern: Anniversary season 2020/21
This is where a brilliant birthday portrait regarding ensemble proton bern’s 10 years activity, with plenty of notes regarding the anniversary season was meant to be found.
Christian Fluri talked with Martin Bliggenstorfer, the Managing Director, shortly after the lockdown of the first pandemic wave. At that time, he expressed confidence and urge for action.
Now, shortly before the big anniversary celebration of November 16th was originally planned, we find ourselves in the midst of a second wave, hitting with unexpected violence.
I therefore discussed the effects of the new situation on the ensemble proton bern and its anniversary season with Bliggenstorfer in a second conversation, immediately after the Federal authorities announced the new guidelines of October 18th. Since then, measures and guidelines have been changing constantly and most performances have become virtually impossible.
The ensemble proton bern is thus representative of many ensembles, musicians and organisers who are suddenly facing cancellations, postponements and an uncertain future.
ensemble proton bern has been researching with great passion since ten years now, looking for new sounds, new works and new composers. It is now one of the most in-demand ensembles in and outside Europe.
Since its foundation in 2010, the ensemble, which is based in the Dampfzentrale Bern, has performed some 273 works by 180 composers in 128 concerts, 175 of the works were world premieres. Among other highlights, its concerts at St. Petersburg’s Mariinsky Concert Hall in in front of large audiences and a West Coast tour of the USA.
During the first wave of Corona, the ensemble was quite lucky, as managing director, oboist and lupophone player Martin Bliggenstorfer states: “Right before the lockdown, we were able to play the protonwerk no. 9 concert in the Dampfzentrale. But we had to cancel the second performance at Basel’s Gare du Nord.”
protonwerk is a support programme for young composers* to whom the ensemble commissions works.
Adrian Nagel, Netzwerk, UA: protonwerk no.7 / ensemble proton bern 2017
“We were able to postpone our programme terrible ten, a concert with world premieres by Thomas Kessler (My lady soul) as well as Michael Pelzel and Stefan Wirth, which was planned for May, at short notice and managed to play in September. So not all of our planned programmes went completely lost,” says Bliggenstorfer happily.
Making music together is missed
The ensemble could hardly wait to get back playing concerts after the lockdown. So terrible ten became somewhat extraordinary as making music together again after such a long time and sharing music live with the audience was a great experience for everyone involved, says Bliggentorfer.
Thomas Kessler, My lady soul, UA ensemble proton bern 2019
Even though the ensemble’s musicians were able to make productive use of the lockdown period. “What we missed was making music together, being in direct contact with each other and rehearse with the concerts in mind. But at the same time it was also good to let our brains and bodies rest for a few weeks.”
Fortunately, the ensemble’s existence is currently not in danger. “We didn’t have to return any of the received subsidies or support for the cancelled concerts. That way we’ve been able to pay out our own fees as well as those of our guest performers”. Bliggenstorfer is very grateful for the generous attitude of Switzerland’s donors.
“The universe of sounds is limitless…”
The ensemble is therefore still in an excellent position and constantly striving to develop further. This, however, will happen without its long-time conductor Matthias Kuhn, with the ensemble since its founding. “He wishes to reorient himself artistically” which is something that Bliggenstorfer understands, however important Kuhn has been for the young ensemble’s development. In the future, the work will go on with a core of eight members and without a permanent conductor, in order to develop chamber music projects as well as concerts and performances with larger ensembles and guest conductors.
The passion for contemporary music in its various genres and orientations never changed as the ensemble has no blinders on and joyfully plays and shows how full of enthusiasm, lively and vital contemporary music can be. “The universe of sounds and their possible combinations is infinite”, and Bliggenstorfer knows that ” there are new discoveries to be made throughout an entire lifespan”.
Verschiedene Komponisten click & faun, ensemble proton bern 2019
Sound possibilities of new instruments are also far from being exhausted: i.e. the “clarinet d’amore” rediscovered by Richard Haynes, the double-reed instruments “lupophone” and “contraforte” played by Martin Bliggenstorfer and Elise Jacoberger or Maximilian Haft’s “straw violin” – not to mention the variety in the realmof electronic sound production. ensemble proton bern will continue to research.
2nd interview, October 21, 2020:
Despite growing uncertainties and the threat of new restrictions, Bliggenstorfer still appeared to be confident regarding future concert possibilities on October 21: “Cultural events should not be cancelled as long as they are not officially prohibited. Protection concepts must of course be implemented perfectly, which worked well so far”.
Fixed appearances as main act were planned as part of the “5 years Kultur-Kino Rex” anniversary programme, with two visual artists, during which composer Ennio Morricone was to be shown from an much less known side. “Morricone is well known as film music composer – but he was also active in so called ‘art music’, among others as trumpet player of the “Gruppo di improvisazzione Nuova Consonanza” in the 60s/70s.
However, the new Berne guidelines of October 23, closed cinemas and museums with immediately effect and the concerts had to be cancelled shortly afterwards.
“fette fête” (big fat party) – the ensemble’s 10th anniversary concert
The “fette fête” was planned for 16 November in Bern: a huge birthday party with premieres and works by Louis Andriessen, Christian Henking and Annette Schmucki. The ensemble also commissioned a work by young Swiss composer Tobias Krebs. “We are extremely pleased about this – he is an outstanding young composer whom we know from protonwerk”.
Tobias Krebs, ambra, UA Duo Vers 2018
During the interview, Bliggenstorfer held on to the possibility of performing, for “as long as it is possible to propose art as a live experience, we do not want to give up the opportunity to perform. We want to deal with the situation responsibly by observing the protection rules and concepts”.
Unfortunately, the concert had to be cancelled (as of October 30 guidelines) and will be rescheduled to February 2021 (tbc.).
Further uncertainties arise regarding future projects with guests from abroad: “If they cannot enter or travel, we will have to look for replacements. Furthermore, engagements abroad are cancelled for the time being. For the anniversary season, the ensemble had invitations to New York and Salzburg, for example.”
The financial consequences of the current situation cannot be assessed yet: “At the moment we are still in a good position financially, but the medium to long-term impact of the crisis on the funding landscape is uncertain.”
The ensemble continues to show its full commitment. The urge of research and innovation, as well as the desire to play and discover, remain intact.
However, it is impossible to foresee long-term consequences regarding live concerts, in particular as far as the international situation is concerned.
Konzerte Jubiläumssaison 20/21 &aktuelle updates
30.Oktober: The dark side of Ennio Morricone, Kino Rex Bern: ABGESAGT
16. November: “fette fête” – 10Jahre proton, Dampfzentrale Bern: ABGESAGT: VERSCHIEBEDATUM 2. Februar 2021 (tbc)**
17. November, 20h, Konzert Gare du Nord Basel: protonwerk nr.9 (Wiederaufnahme)
Sendungen SRF 2 Kultur:
Musik unserer Zeit, 28.10.20: Redaktion Florian Hauser, Gespräch zu My lady soul, mit Thomas Kessler, Martin Bliggenstorfer, Bettina Berger, Vera Schnider
Neue Musik im Konzert, 28.10.20: My lady soul mit terrible ten, Konzertaufzeichnung vom 15.9.20, Dampfzentrale Bern, Redaktion Florian Hauser.
Musikmagazin, 25.7.20: u.a. Richard Haynes, Redaktion Florian Hauser
**DATUM OFFEN: Neue Musik im Konzert: “fette fête”, Konzertaufzeichnung, Dampfzentrale Bern, Redaktion Florian Hauser.
Episode 4 of neoblog portraits concerning the Swiss Music Prize 2020:
Rudolf Kelterborn is one of the Swiss Music Prize 2020 winners.
It was in 1985, when I first heard music by Rudolf Kelterborn: the incredibly intense cello sonata, which had been freshly composed. How can someone, I wondered as a young person, write such music? It is both angry and at the same time clearly structured, very well aware of its own power. The musical gesture circles, evokes, develops itself in depth until reaching up into the heights. Singing, lamenting, twisting, losing itself. Cheering. A music that narrates and speaks to me.
“In my work,” Rudolf Kelterborn once said, “creating something fundamentally new is not the priority. What really matters to me, is to set something in motion with viewers and listeners. With motion I do not mean a vague emotionalism, but rather the opposite, solidification. Even something that has nothing to do with current affairs can be current, by stimulating thoughts, or by being touching, impressive, fascinating, exciting.”
“creating something fundamentally new..”
This is it. His music should be effective from by itself, without the need of any supplements. That has always been his credo. Rudolf Kelterborn is very old school, and if today’s music, new music, is becoming more and more interdisciplinary, or transdisciplinary, blurry at its edges and forming lliances, not to say amalgams, with many other disciplines, be it theatre or dance and installation and electronics and performance and all kinds of other things it wishes to involve – that is not Mr. Kelterborn’s thing.
Rudolf Kelterborn, Musica luminosa für Orchester 1984/85, Basel Sinfonietta
He is a veteran of the Swiss musical landscape, a contemporary witness to almost an entire century, courageous, committed, humourous and unrelenting. Someone who never made things easy for himself nor his environment.
..a veteran of the Swiss musical landscape..
It’s no coincidence that his colleagues sometimes called him Poltergern (one who tends to bluster) when he was head of the music department of Swiss Radio DRS in the 1970s. Yes, he could and can bluster – and still does so when encountering thoughtlessness. In that case he can be argumentative and hostile and polemical and perhaps even unfair.
Rudolf Kelterborn, Klavierstück 7 “Quinterno”, 2005, Klavierduo Soós-Haag
But that is only the other side of an attitude that despises the tepid or idle, while calling for unconditional commitment instead. An attitude that offers the audience a dense, narrative, highly emotional music – but which they are also supposed to expose themselves to. Comfort? No thanks. The audience has a right to be challenged, but then at the same time to draw an enormous benefit from it, a gain in experience, knowledge and pleasure.
Broadcast SRF 2 Kultur:
Musik unserer Zeit, 16.9.2020: Portrait Rudolf Kelterborn, Redaktion Florian Hauser
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.
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”.
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.
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
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