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A toast to new music!

RTR launch neo.mx3 & ensemble ö!
Interview with David Sontòn-Caflisch by Thomas Meyer

RTR celebrates the launch of neo.mx3 with a special concert by local ensemble ö! on October 11, in Chur! Numerous works by Swiss musicians will be performed and RTR will record and film the performances in order to make them immediately available on the neo.mx3 plattform.

Thomas Meyer talks with violinist and composer David Sontòn-Caflisch, ensemble ö!’s artistic director.


Asia Ahmetjanova, La voix, UA ensemble ö!, Chur 2020

Ensemble ö! Was founded in 2002 and at that time it developed out of a string ensemble (Musicuria), which you founded in 1991. You were still in grammar school back then… What was your purpose?

We used to include a piece of new music in every programmewith Musicuria, sometimes even world premieres. The interest then shifted more and more in that direction, so we finally formed the new ensemble ö! with some strings from Musicuria as well as winds, piano and percussion.

David Sontòn-Caflisch & Ensemble ö!

What does this unusual name mean?

By presenting the ensemble I said that the difference between “E- und U-Musik”* was no longer to be made and the Graubünden press interpreted my statement in the following, original way: e and u together would make eu, which pronounced in French, would become ö. Originally, however, I thought of the “ö!” expression which is used to raise a toast here in Graubünden. It is simply a toast to new music.

In your programming, you like to highlight specific topics.

Each season, we focus on one specific theme, which is examined in detail through six programmes. As artistic director, my aim is not only to select good pieces, but also to create clever programmes that tell a story and are structured as a whole, to be imagined as one big piece per evening, involving various composers.


Stephanie Hänsler, Im Begriffe, ensemble ö! 2017

..the vastness of the universe stands alongside the uniqueness of art…

The current season’s theme is “suns”.

…a wide field. When you look up into the starry sky, you often forget that almost all of these bright spots are suns. Each of them has its own world, and these worlds are incredibly far away and apart. Our nearest neighbour is more than four light years away. That shows on the one hand how small, on the other hand how unique we are. We are able to reflect the world through art or in this case music! So the vastness of the universe stands alongside the uniqueness of art.

These aspects are addressed in different ways: The concerts are called “light years”, “inaccessibility”, “energy”, “opium”… How do you structure the programmes?

In September’s “Light Years” programme for example, mass is facing emptiness: It is impossible to imagine the mass of a billion stars, but there is a great emptiness between the stars. Two of the pieces of the concert (by Vladimir Tarnopolski and Gwyn Pritchard) are incredibly dense, so dense that one cannot follow every note, but only the overall idea. Whereas Luciano Berio’s and Roland Moser’s compositions work with emptiness and are very quiet. Finally, Marc-André Dalbavie’spiece combines both elements.


Jannis Xenakis, Dikhthas, Ensemble ö! 2017

What is new is that you work with a board of curators for these programmes.

Up to now, I had always read intensively on the subject matter. Now I wanted to consult experts. This year, these are a philosopher/psychologist, a journalist, a writer and an astrophysicist, bringing together a great deal of expertise in order to explore the topics I choose even further. In our first session, we went through each programme in detail, incorporating aspects from all disciplines. Short literary texts are then created and woven into the concert. I don’t want the audience to have to deal with something purely theoretical; that is why the writer translates his or her thoughts into literature. But the texts also encourage the audience to experience a piece more intensively. They create a “fil rouge” to the music, which remains in the foreground. Furthermore, I personally introduce each concert, by going into detail about the music to be presented.

So the discussions anticipate the concerts.

This year they do, it is a pilot project. Our wish for the future is to open these meetings to the musicians as well the audience, in order to create an addition to the concerts.

It is therefore a mediating and interdisciplinary project…

Perhaps rather “transdisciplinary”. There are several disciplines that are intended to delve deeper into the music. It is still somewhat fashionable to add video or lighting elements to a concert in an interdisciplinary way, which is justified, but one also has to be careful, as this might just create an external distraction. Our music needs quite a bit of concentration and should be combined intelligently. You can’t just add entertainment elements.

Three composers appear repeatedly: the Frenchman Tristan Murail, the Austrian Klaus Lang and the Swiss Klaus Huber, who died in 2017.

Murail writes very sensual music. It is important for me to emphasise this aspect, because it is often claimed that New Music is too abstract. What fascinates me about Lang is how he creates musical widths in his own unique way. As for Huber, I consider him one of the great Swiss composers who is currently not played so often. Throughout his life, he has been concerned with the role of mankind in the universe. By the way, in his “Ein Hauch von Unzeit” for solo flute he asked performers to come up with their own, new versions and we are presenting two new ensemble versions of it.


Klaus Huber, Ein Hauch von Unzeit IV (version for soprano, piano, flute, clarinet and organ), Ensemble Neue Horizonte Bern, 1976

With Duri Collenberg’s and Martin Derungs’ world premieres you also refer to your own origins (Graubünden)…

They actually represent the youngest and the oldest generation of Graubünden composers within the “Tuns contemporans” (Contemporary Tones), our Biennale, which we founded two years ago together with the KammerphilharmonieGraubünden. We felt the need for the two professional orchestras of the canton to join forces. It should take away the fear of enjoying new music. Magnus Lindberg from Finnlandwill be composer-in-residence for the next series.

 “Ladies only!”

You also launched a “Call for Scores” for the festival… Who was it aimed at?

Female composers of all ages and from all over the world. The motto is: “Ladies only!”. 126 scores were submitted, three of which we will perform at the Biennale. But I will certainly take one or the other from this huge collection into account for future seasons.
Interview: Thomas Meyer 

* in German the expression “E- und U-Musik” refers to “ernste Musik und Unterhaltungsmusik”, which can be translated with serious vs. popularmusic.

Ensemble ö!-Verbeugung

Concert spezial launch neo.mx3 &Ensemble ö!. 11. Oktober 2020:
Stephanie Hänsler: Im Begriffe, Alfred Knüsel: Mischzonen, Asia Ahmetjanova: La voix, David Sontòn Caflisch: aqua micans (danach als Video auf neo.mx3 und rtr.ch/musica).

Ensemble ö!: Saison 20/21
Tuns contemporans, Biennale für Neue Musik Chur: 9.-11. April 2021

Broadcast SRF 2 Kultur:
Musik unserer Zeit, 11.11.20.: ö! Ensemble für neue musik, Redaktion Florian Hauser

Stephanie Haensler, Asia Ahmetjanova, Magnus Lindberg, Tristan Murail, Vladimir Tarnopolski, Gwyn Pritchard, Klaus Lang, Marc-André Dalbavie, Asia Ahmetjanova

Neo-profiles: Ensemble ö!, David Sontòn Caflisch, Klaus Huber, Stephanie Hänsler, Martin Derungs, Roland Moser, Alfred Knüsel

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(Deutsch) Musicus universalis – Rudolf Kelterborn

 

Episode 4 of neoblog portraits concerning the Swiss Music Prize 2020:

Rudolf Kelterborn is one of the Swiss Music Prize 2020 winners.

Florian Hauser
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.

Rudolf Kelterborn Portrait in jungen Jahren

“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.
Florian Hauser

Rudolf Kelterborn Portrait © Universität Oldenburg

Rudolf Kelterborn: Musinfo; Ricordi

Broadcast SRF 2 Kultur:
Musik unserer Zeit, 16.9.2020: Portrait Rudolf Kelterborn, Redaktion Florian Hauser

Neo-Profiles: Rudolf Kelterborn, Klavierduo Soós-Haag, Basel Sinfonietta, Swiss Music Prize

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“making new voices heard…”

Interview with Daniel Haefliger @ Swiss Musikprize_3

Episode 3 of neoblog’s Swiss Music Prize 2020 portraits:

Swiss Chamber Concerts is the first and only concert series covering the whole of Switzerland and presenting plenty of contemporary music. Since its launch in 1999, it has continuously featured world premieres from all over the country – for a total of some 200 by now.

Swiss Chamber Concerts live © Miguel Bueno

Gabrielle Weber
The Swiss Chamber Concerts (SCC) series were born from the close musical friendship of the three founding members.

Geneva cellist Daniel Haefliger, flutist Felix Renggli from Basel and Zurich based violinist and violist Jürg Dähler had this vision of combining their chamber music series, already established in the three cities. The first national concert series took place in autumn 1999, with the participation of Heinz Holliger, who’s supporting the project to this day.

I interviewed Geneva based Daniel Haefliger via Zoom and we talked about the uniqueness and challenges of SCC. The original conversation was held in French. Haefliger is constantly on the move and not only as cellist; as we spoke he was on the train, which he describes as his second home and a place of work, after a short tour of Switzerland: first Bern, to coordinate the season of the SCC, then Sion, to determine the string quartet lessons at the Haute Ecole de Musique, and then back to Geneva, in order to work on the SCC homepage.

Congratulations on the prize first of all! Were you surprised? What does it mean to you?

Yes, we were very surprised, as we usually receive little recognition for our work from the institutions, although our audience is numerous and enthusiastic. With our series we create a link between the different language regions throughout the year and regularly make new voices heard. This is a complex challenge where we get to face quite a lot of challenges. After all, the Swiss music scene is divided into many local units that hardly ever work together. Our ideal is to connect the whole of Switzerland in a common musical project.

What inspires you?

Two things: on one hand, as a cellist, the musical dialogue with exceptional soloists – on stage as well as on the personal level; on the other hand, as chamber music teacher of the Lausanne Conservatory, the interaction with young musicians. In both areas I try to communicate, mediate and network beyond age, language and culture.

« La jeunesse m’inspire et me passionne… »

Did the pandemic impact SCC?

Same as everyone else, we had to cancel all concerts towards the end of the season. But as soon as things got a bit better, we played a free concert, on June 30th in Geneva, with Heinz Holliger and Thomas Zehetmair . It was a huge success and motivation for the season to come.

SCC builds bridges between the different parts of the country: how does the cooperation between cities come about?

We build on the basis of our personal relationships. This is the only way to avoid rigid cantonal, urban or institutional regulations that would hardly encourage cooperation across regions.


Bettina Skrzypcak, ..e subito parlando, Swiss Chamber Soloists UA 2012

“We constantly question our own standpoint.”

Do you programme together – you are three artistic directors after all?

What is played, in which cities and to whom compositions are commissioned is usually something we decide collectively. In doing so, the particular regions’ and music scenes’ proximity to those of the nearby countries are also taken into account: e.g. Geneva with France, Basel with Germany or Lugano with Italy.

On the other hand, we constantly question our own standpoint and try to adapt, at least to a certain extent to the performance venues as well as cultural areas.


Nadir Vassena, archeologie future

How do you structure your programmes?

Our aim is to propose a high percentage of world premieres by composers from all parts of the country. We always present these new works in conjunction with major works of the repertoire, in order to underline continuity in music. Our series appeals to an open-minded, broad audience, before whom the new works can and must prove themselves.

How is this combination of contemporary classics and premieres received by the public? Has the perception changed over the years?

In addition of combining the new works with the existing repertoire in terms of content, we also exchange ideas with the composers about the entire programme. Each concert is a coherent unit with its own dramaturgy. This underlines the uniqueness of each piece and creates an intensity of the overall programme. In this way we respond to the audience’s increased need to hear a story.

Are there differences in audience reactions between the different parts of the country?

Cities in the different parts of the country have a quite different “cultural pace”. Switzerland richness resides precisely in its heterogeneous cultural identities. We want to value this diversity by having new works from all over Switzerland circulating throughout the country, which is also one of the challenges.

Tell us about the next season’s world premieres you’re particularly looking forward to?

The next season will feature 12 world premieres, among others by Nadir Vassena from Ticino, Heinz Holliger from Basel, David Philip Hefti from Zurich, Xavier Dayer from Geneva. A variety of instrumentations can be heard, including wind sextet, cello solo, string trio, string quartet, voice and small ensemble. I always look forward to imagining how these various pieces will sound.

The season will start in Bern, at the Yehudi Menuhin Forum, on September 24th with a concert by Heinz Holliger and Thomas Zehetmair – a replica of the June concert in Geneva.


Heinz Holliger, Aleh stavi for Cello solo: Solist Daniel Haefliger

Do you have a vision that you haven’t been able to realise yet? Does the prize perhaps have a special meaning right now – given the pandemic?

We have already realised many of our visions, such as the international Swiss Chamber Academy or the Swiss Chamber Camerata, both connecting young professional musicians from Switzerland and abroad. But realising visions and ideals costs money. Perhaps (or hopefully) this prize will help us to obtain higher financial contributions in order to strengthen long-term links between the regions. At the moment, we are dealing with it “at arm’s length”, so to speak, as since SCC’s foundation, our work has only been possible through enormous personal efforts as well as plenty of volunteering: We often think of the god Shiva with his many arms …
Interview: Gabrielle Weber

 

Daniel Haefliger © Nicolas Schöpfer

The Swiss Chamber Concerts were founded in 1999 by Daniel Haefliger, Felix Renggli and Jürg Dähler, followed by the founding of the Swiss Chamber Soloists, a permanent pool of internationally acclaimed soloists who perform during the series, and later the Swiss Chamber Academy of Geneva, national-international string quartet academy and the Swiss Chamber Camerata, also in Geneva. All SCC concerts can be heard in Lugano, Geneva, Basel, Zurich and from this season on also in Bern.

List of SCC world & national premieres 1999-2020

Konzert 18.9.20: Festival Label Suisse, 18.9.20.: 21.15h, Werke von: Rudolf Kelterborn, Xavier Dayer, Mozart, Villa-Lobos

Konzert 24.9.20: Yehudi Menuhin Forum Bern:
Heinz Holliger, Thomas Zehetmair, Ruth Killius, Daniel Haefliger

Sendung SRG/RSI: RSI-Neo, 25.8.2020:
Incontro con Daniel Haefliger, Redaktion Valentina Bensi

Neo-Profiles: Swiss Chamber Soloists, Jürg Dähler, Heinz Holliger, Nadir Vassena, David Philip Hefti, Xavier Dayer, Rudolf Kelterborn, Bettina Skrzypczak, Swiss Music Prize

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A both typical and unusual bass player

Episode 2 of the neoblog portrait series on the Swiss Music Prize 2020:

Martina Berther from Chur – a very typical and at the same time unusual bass player.

Martina Berther @ Ester Poly © J. Dubois

Jodok Hess
Martina Berther is a typical electric bass player because she can basically play anything, like many bassists. She’s been grooving hard with hip-hop bands, played feminist punk rock with drummer Beatrice Graf, accompanied great quality pop music with Sophie Hunger or played electro-pop for Daniela Sarda. As Frida Stroom she experiments solo on the bass and moves completely free in the realm of noise.

I met Martina Berther in her rehearsal room in Zurich Affoltern – a nice, big bright space with lots of guitars, basses, effects and drum sets everywhere.

The fact that she shares the room with several other musicians sometimes stresses her out, because it can get crowded. On the other hand, she likes it because it automatically requires a certain discipline and people help each other out.

In general, Martina seems to be someone who if life gives you nothing but lemons, makes some lemonade. The story of how she came to the electric bass in the first place is a beautiful one for example, as the former conductor of the “Jugendmusik Chur” Music School left her take over only reluctantly:
“I used to play trumpet, but it was not really my instrument, fortunately – because that’s how I stayed open-minded and kept looking for what could turn out to become my instrument. In the “Jugendmusik” there was this quite revolutionary electric bass player and bear in mind, the “Jugendmusik” was rather conservative at that time. This electric bassist was over 20 years old, so he had to quit, so they were looking for someone else, but obviously male. When I proposed to take over, the director said: ‘Oh well, we’ll have to have a meeting and discuss if that’s possible, a woman on the bass’.”

Others might have been offended and hence abandoned, but not Martina Berther. She waited patiently for the outcome of that meeting.

“Thanks to an open-minded member of the board, who was female and strongly defended my cause, I was admitted and luckily got to play bass.”

Luckily indeed! After all, this is how the Swiss music scene came to choose an electric bassist among the prizewinners. The Swiss Music Prize is what this interview will focus on.

25000 francs in Corona times, you don’t say no to that, do you?

“No! (laughs) – you don’t say no to that. You don’t say no to that in non-corona times neither.”

Were you surprised?

“Yes, indeed I was! Last year I attended the award ceremony, as my musical partner Beatrice Graf (drummer of Ester Polly) got it and I thought: If I continue to work well, maybe I’ll get it one day. It simply came much earlier… (laughs) But I would have gone on for another 50 years even without prices.


Martina Berther / Beatrice Graf @ Ester Poly – Fieldsession, B-Sides Festival 2018

Your broad profile is therefore not a business plan?

“No, definitely not! It all came about out of curiosity.”

Tell us about your role models?

I inspire myself more to sounds than to musicians. Whenever I heard an intriguing sound, be it a cello or a drum set, I would reflect on what I like about it and what I could translate about it on the bass?

So it’s all about sound?

“Sound, or energy – sometimes it is difficult for me to point out, what exactly I like about a musician. It is often a presence or an attitude, which is what I have tried to adopt as a role model. On the other hand, I quite often hear: I started playing bass because of you. Which is beautiful of course.”

When I listen to the Frida Stroom project, Hermeto Pascoal comes to mind – because of the concept that everything is music. Even his beard is music to him, or a banknote he plucks. So I asked myself: Is it this curiosity that makes them go beyond sound, energy and all that to look for something new?”

“Yes, it is mainly about sound. It can also be things that happen while you play. Sometimes I notice that the whirring of the amp was actually the most beautiful moment of a 30 minutes improvisation, so I focus mainly on that and feel the urge to develop further.”

“the whirring of the amp.. the most beautiful moment of a 30 minutes improvisation”

How do you prevent the listener from feeling excluded?

“Actually, theoretically, it is quite simple. If I myself get involved in the moment, in space, in the audience, by making myself vulnerable and start to play only from that point, the public gets involved very quickly. It becomes more difficult when there’s insecurity and I try not to allow improvisation and decide to start with a particular sound”.

Is that already too much?

“Sometimes it is. Or when I start improvising and then find myself thinking: I could do that next. I then have the feeling of being too busy to really notice what’s actually happening, in the room or with my instrument. Because everything is already there. You can do so much with very little, all you need is the courage to get involved. If I fight against it, out of insecurity, then it is more me fighting against something.
“You just have to find the courage and go for it.”

“all you need is the courage to get involved”


Martina Berther with Frida Stroom, live at Gamut Festival 2017

Is improvisation in this case something like surrendering? Letting go?

“For me it is, yes. Sometimes it works very well, sometimes less. I haven’t found a recipe yet.”

Do you never have the urge to just go groovy and conventional in such moments?

“(laughs) I have been extremely groove-oriented for many years. My first bands were hip hop bands, Breitbild for example, and I was very much into soul music as well. At the moment I’m not so much interested in this more conventional way of playing bass anymore.

Frida Stroom © Stefan Berther

Your “heart of hearts” is currently more experimentally oriented, than let’s say a project like Sophie Hunger?

“On bass it definitely is. Although wouldn’t say that I’m not interested in groovy music anymore.

I have simply already done it a lot. With Sophie Hunger one is definitely encouraged to bring in her own ideas. I really have to get out of my comfort zone. Sophie brings the necessary energy and support. I felt that I was being asked to show myself in a very good way.”

This sounds a bit like jazz?

“Yes, totally! (laughs) It was actually the biggest jazz band I’ve played with in the last few years.
Interview: Jodok Hess

Martina Berther, Beatrice Graf, Sophie Hunger, Hermeto Pascoal, Frida Stroom, Ester Poly

Broadcasts SRF 2 Kultur: Jazz&World Aktuell, 15.9.20, Beitrag von Jodok Hess

Neo-Profiles: Martina Berther, Swiss Music Prize

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“I am one of Europe’s slowest composers.”

Dieter Ammann and his piano concerto Gran Toccata @ Sternstunde Musik srf &neo.mx3

Dieter Ammann continues to push forward: with his piano concerto “The Piano Concerto – Gran Toccata”, which premiered at the BBC Proms London and was subsequently performed worldwide, the composer, currently teaching in Lucerne and Bern, is reaching a new career height. Swiss Television SRF is broadcasting an in-depth portrait in its Sternstunde Musik format. Filmmaker Daniel von Aarburg accompanied Ammann during the three years of the piano concerto’s creation: the result is a dense, subtle and humorous portrait of a process that wasn’t always easy, with insights into rehearsals, concerts as well as private situations. Ammann’s youth and his career are also explored.

In his conversation with Gabrielle Weber he talks about the making of both film and concert.

Dieter Ammann @composing

It took you three years to compose the Gran Toccata; would you describe composing a new work as a journey and was the film project also one?

It was an eventful journey: I was already involved in an independent film project initiated by director Arthur Spirk, a great music connoisseur and lover. Then SRF decided to produce a film portrait and everyone agreed to re-start the filming process with Daniel von Aarburg taking over the direction. We clicked already at our first meeting and an unbelievably beautiful cooperation developed from it.

How did the story come about?

I placed myself in the hands of the team with great confidence. The director always anticipated what he wished to film. An enormous amount of good material was produced. According to the motto “kill your darlings”, a lot of cutting and editing turned out to be necessary. For example, my teaching activities at the Lucerne University as well as some private scenes are missing, which is a pity as I am deeply rooted in my family and immediate surroundings.

You live and work mostly at night… how was that compatible with the needs of the film crew go?

It wasn’t just a job for them, they got completely involved. That’s what made it possible to capture personal and private moments. They also naturally took my rhythm into account, set the shooting in the afternoon and sometimes at night. There was great deal of idealism involved.

..and with the soloist, pianist Andreas Haefliger?

Our cooperation worked very well, but not always without problems. We had to figure out and fight about certain things. It was exciting to work thing out together and it created a lifetime relationship.

Your “Piano Concerto – Gran Toccata” was and still is a huge success, worldwide: It is known that you initially resisted for a long time to write a piano concerto and only accepted it on the condition that one of the US “Big Five” orchestras* was involved… Was the acceptance from Boston unexpected? Was it inspiring?

I was actually trying to avoid this huge task. I generally only accept assignments if I can fully support the conditions. For example, in an earlier request for an opera, I set the condition of an eight years production. This could not be guaranteed and so that was it for me.

Due to the very early request, I actually got a few years’ notice for the piano concerto before I started to compose, so I didn’t freeze…

What was the musical spark for the piano concerto?

At the beginning I listened to an enormous amount of piano literature for about six months and created an extensive collection of examples of textures. I was interested in what complexity is possible on the piano – not in the sense of New Complexity, for example, but intrinsically, developed from the instrument. This collection with all notations and verbal sketches was stolen from me during a train ride and all of a sudden I had nothing left. That was a real shock.

You once said: “Freedom is at the heart of composing contemporary music”: Particularly in the case of commissions for large orchestras, there are framework conditions, sometimes obstacles, which can be restrictive. They come from music that is not primarily and originally written to contain improvised material, where freedom is supposedly greater.

Writing for 70 musicians is not a restriction for me, but restrictions also exist when I work with an algorithm program on the computer or when I write for piano trio. It is precisely the friction with the restriction, the sounding out of limits, that fires the imagination.


Dieter Ammann, Après le silence. Für Klaviertrio, Mondrian Ensemble, 2004/05

Restriction is fuel for fantasy.

…when working with orchestras there is a strict working rhythm, with usually little time for rehearsals and little freedom.

I do not only have high demands on myself, but also on the interpreters of my music. Fortunately, it is mainly artistically outstanding soloists and ensembles who deal with my works, so when a top orchestra has four rehearsals, the world premiere really works. However, a world premiere rarely corresponds to the interpretational ideal. This requires several performances. In my opinion, the promotion of music should move away from the premieres hype and rather towards the obligation to perform a new piece several times.

There were also interpretational differences in the piano concerto. Each orchestra and every conductor come with his or her own sound. Contemporary orchestral works in particular are rarely performed twice. However, I have the qualitative claim to add something valid to the repertoire, so that a constant engagement with the music is possible through replaying, as for example in the case of “glut” for orchestra.


Dieter Ammann, glut. Für Orchester, Lucerne Festival Academy, Dirigent George Benjamin, 2019

You describe yourself as a slow composer – a new work of yours is to be expected only every few years… What’s next?

2022 I will turn – whoa! – sixty. I am looking forward to a residency with the Basel Symphony Orchestra or a birthday concert of the Sinfonietta. Perhaps there will be one or two more symphonic concerts in addition. The postponed Swiss premiere of the piano concerto will also take place in 2022, at the Lucerne Festival.

Recently, I started working on a concerto for viola and orchestra, for soloist Nils Mönkemeyer, a co-commission of the SOB with the Munich Chamber Orchestra. This will be followed by a piece for one of the world’s leading orchestras, followed by a cello concerto. If I get to live that long…;-)
Interview: Gabrielle Weber

SRF-Filmportrait Dieter Ammann / Gran Toccata, Sternstunde Musik 2020: Regie Daniel von Aarburg / producer SRF: Markus Wicker:

The Piano Concerto – Gran Toccata, Premiere is on tour since August 2019, soloist Andreas Haefliger, among others: BBC-Proms / London, Taipei Symphony Orchestra / Taiwan, Boston Symphony Orchestra / USA, Munich Philharmonic / Munich Gasteig, Helsinki Philharmonic / Helsinki. The Swiss premiere at Lucerne Festival has been postponed to 2022 due to the pandemic.

The CD recording of Gran Toccata with the Helsinki Philharmonic conducted by Susanna Mälkki on BIS Records label will be made available on neo.mx3 immediately after release.

Dieter Ammann’s neo-profile includes short videos of the original material by Arthur Spirk.

*Big Five: New York Philharmonic, Boston Symphony Orchestra, Chicago Symphony Orchestra, Philadelphia Orchestra and Cleveland Orchestra

Dieter Ammann, Andreas Haefliger, Lucerne Festival, Sinfonieorchester Basel, Mondrian Ensemble, Nils Mönkemeyer, Basel Sinfonietta

Broadcasts: SRF1
Dieter Ammann – Gran Toccata, Sternstunde Musik, So, 23.8., 11:55h; Di, 25.8., 13:00h; Sa, 29.8., 9:40h (Dauer 1Std)

Broadcasts SRF 2 Kultur:
Musikmagazin, 22./23.8.20, Redaktion Benjamin Herzog / Beitrag Silvan Moosmüller.
Musik unserer Zeit, 29.7.2020. (Erstausstrahlung 12.2.2020), Unspielbarkeit, Redaktion Theresa Beyer

Neo-Profiles: Dieter Ammann, Lucerne Festival Academy, Sinfonieorchester Basel, Mondrian Ensemble, Basel Sinfonietta

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Alpine blessing for Casino opening

Christian Fluri: Helena Winkelman – Composer in Residence @ Sinfonieorchester Basel 20/21

Helena Winkelman, composer, violinist and artistic director of the distinguished Camerata Variabile ensemble, is one of Switzerland’s most interesting and unconventional internationally renowned musicians and this year’s Composer in Residence with the Basel Symphony Orchestra (SOB).

Helena Winkelman, Portrait with violin

The work of Helena Winkelman includes chamber music, choral and orchestral works as well as opera and musical theatre. In her compositions she develops her own musical language, which reflects our times and is based on a wide variety of influences, such as Baroque, Jazz and various folk music, combining complexity with playfulness and profoundness with joy of life.


Helena Winkelman, Camerata Variabile: Papa Haydn’s Parrot (2016)

The SOB already commissioned Winkelman with three new pieces: Einkreisung and Gemini, whose premiere will be conducted by Ivor Bolton, SOB’s main director and Goblins for six percussionists. All three works are structured for theatrical purposes and have their own lighting concept.

Einkreisung for eight alphorns – mountain atmosphere in town

Einkreisung is one of the works that will inaugurate the renovated casino, which will present its new looks on August 22. The piece is written for eight alphorns of different lengths and tunings.

“The idea is based on the traditional Swiss alpine blessing.” explains Winkelman “For the opening of the city casino, I wanted to bring the mountain atmosphere into town and into the music hall, in order to provide the urban world with some earthiness and peace.”

The eight alphorn players, the Hornroh-Quartett together with four horn players of the SOB will be distributed both on stage and in the galleries, thus encircling the audience. Winkelman describes “Einkreisung” as a work that dramatically employs the alternation between quiet, almost traditional-sounding alpine greetings and strong sound layers along the instruments’ overtones. The sound will be passed on in a circular manner, creating an effective setting to highlight the new concert hall.

Helena Winkelman, Granithörner (Teaser), Camerata Variabile &Balthasar Streiff, 2018

Gemini – Staged interactions

Gemini, a concerto for two violins and orchestra, was written by Helena Winkelman for two great musical personalities, Patricia Kopatchinskaja and Pekka Kuusisto: it will be premiered at the SOB’s first season concert in September. The concert consists of nine short scenes, each of which portrays possible relationship modes between two people. Both soloists will be accompanied by a drummer each, moving through the piece with them during the performace. The last three scenes “Battleships”, “Partners in Crime” and “Horsing around” bring various folk music elements into play in a humorous, rapid question and answer game between soloists and orchestra. The climax of the piece is reached in a staged duel, in which the solo double bass intervenes alongside the two secondary percussionists.

During a long conversation about her music, Helena Winkelman talks about the creative process and the connection between art and life itself.

“At the beginning of a work there is often a sound that is formed by a combination of body tension, gesture and tactile imagination” she says. “These three elements in turn arise from an inner sensation or atmosphere.

In all these years I came to the insight that in the end there is no big difference between composers and non-composers, because just as in composing, there are also decisions to be made in life, along which one’s own path then unfolds. Every detail is important, the reasons are important, everything influences and intertwines. This is often an overwhelming task.

As composers we hold a magnifying glass over these decision-making processes, showing that, ideally, it is possible to make a good choice.

Conscious shaping of the world

Here I would like to contradict the often-expressed belief that art is there to interpret, reflect and process life. We find ourselves in a world of glorification of the executive. Consequently, art is perceived as being of little importance. But what if instead life asked OURSELVES for a possible, desired direction and much more than we think would depend on our creativity and vision?

Music could be our encouragement and training to awaken this creative potential and to consciously shape our world – as artists do – at any given time.”
Christian Fluri


Helena Winkelman: Atlas für Solocello (Nicolas Altstaedt), Cello und Streicher, 2019, Solist: Cello

Uraufführungen Helena Winkelman & SOB:
Einkreisung, August 22 (reopening Stadtcasino Basel), August 26, Special Concert: Neue Welt. Alphorn soloists: Hornroh-Quartett, SOB: Diane Eaton, Megan McBride, Eda Paçaci, Lars Magnus

Gemini, October, 9. and 10. Concert: Duel, Stadtcasino Basel.
Due to family reasons one of the soloists Pekka Kuusisto had to cancel. The composer herself will step in and perform his part.

Goblins, February 4, 2021, in: Concert Solmidable, Stadtcasino Basel.
Helena Winkelman, Sinfonieorchester Basel, Camerata Variabile, Casino Basel,  hornroh modern alphorn quartet, Balthasar Streiff

Broadcasts SRF 2 Kultur:
Kontext / Künste im Gespräch, September 3, 2020, 9am/6pm: Annelis Berger im Werkstattgespräch mit Patricia Kopatchinskaja und Helena Winkelmann.
Musik unserer Zeit, September 9, 2020: Portrait Helena Winkelmann (Annelis Berger)

Neo-Profiles:
Helena Winkelman, Sinfonieorchester Basel, Camerata Variabile, hornroh modern alphorn quartet

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Sound hiking: yes!

Neue Musik Rümlingen’s 30th anniversary – birthday edition despite Corona: 20.-24.8.2020

Jaronas Scheurer
Due to the current situation all summer festivals have been cancelled. All of them? Almost! A small festival for contemporary music in the Basel region will be taking place: Neue Musik Rümlingen.

Festival Rümlingen 2016, Serge Vuille, Change © Schulthess-Foto

The event will take place from August 20 to 24 in the small village of Läufelfingen and the reason for this exception is the festival’s special. “The audience will be hiking outdoors, where compositions specifically written for the landscape can be enjoyed” says managing director Tumasch Clalüna. This, however, is not a special feature of this year’s edition, as the festival has been focusing on unusual formats since its foundation 30 years ago. The audience will walk in small groups of maximum 10 persons, in full respect of the current guidelines and reservation is therefore mandatory. Starting point will be Läufelfingen station and from there, the route leads up the old pass road towards Hauenstein and in a large loop, back to Läufelfingen, specifically to its SilO12 exhibition space. Along the way, the audience can linger and enjoy works by eleven young composers, created specifically for each particular location.


Tobias Krebs, rêves éveillés, 2019

The audience will walk towards the music and after a while carry on, without necessarily experiencing the entire composition. A challenge for the invited composers, as Tumasch Clalüna pointed out. Some works are rather to be defined sound situations instead of conventional compositions with a clear beginning and end, while others are more installation-like or let the performers spontaneously react to the passing audience. Instead of a conventional concert festival, Tumasch Clalüna therefore prefers the definition of “musical landscape walk”. “Park Opera 2” by Polish composer Wojtek Blecharz, for example, which will be premiered at the festival, fits this idea perfectly as Blecharz composed the opera specifically for the landscape above Läufelfingen, same goes for the performance “Waves” by Lara Stanic, also referring to the surroundings.

Lara Stanic: 4Laptops, 2019

But why does Neue Musik Rümlingen actually take place in Läufelfingen and not in Rümlingen? We’ve been invited by SiLO12 for a cooperation some time ago, explains Clalüna and this year was the right opportunity, as an anniversary exhibition had been planned in addition to the music.

A closer look at the programme reveals that the composers are remarkably young, e.g. new works by Tobias Krebs, Léo Collin or Anda Kryeziu will be heard and performed. This is surprising, because one could assume that a 30-year anniversary is the occasion to invite big names of the scene. Tumasch Clalüna answers that the festival prefers to stay focused on what is currently going on and to look ahead rather than back.


Léo Collin, Corals, 2020

The 30 years retrospective of the festival’s history won’t be completely missing though, as at the end of the walk, SiLO12 will host the «Aus dem Schuber – Archiv Rümlingen» exhibition, with the Basel ensemble “zone expérimentale” performing works related to the festival’s entire history.

Further information:
The sound hiking and “Aus dem Schuber” concerts will take place on Saturday 22. and Sunday 23. of August, while the exhibition will run from Friday 21. to Monday 24. of August, with an opening vernissage on Thursday evening (August 20).

Festival Rümglinen 2019: Jürg Kienberger InneHalten © Schulthess-Foto

Neue Musik Rümlingen, Wojtek Blecharz, Delirium Ensemble, ensemble zone expérimentale

Neo-Profiles: Neue Musik Rümlingen, Daniel Ott, Lara Stanic, Léo Collin, Tobias Krebs, Andreas Eduardo Frank

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“Art is a social activity”

Interview with Antoine Chessex @ Swiss Music Prize 2020_1

The mystery is revealed: this year’s Swiss Grand Prix Musique goes to Erika Stucky, singer, musician and performer of the new folk genre.

There are 14 other prizewinners, several of which in the broad genre of contemporary and experimental music.

Neo-Blog will portray them in loose succession, starting with Antoine Chessex, saxophonist, composer, sound artist and sound theorist.

Portrait Antoine Chessex ©Pierre Chinellato

Antoine Chessex was born in Vevey in 1980. After residencies in New York, London and Berlin, he now lives in Zurich and is considered one of the most innovative young musicians in Switzerland. Chessex is not afraid of genre boundaries and moves fluently between composed and improvised music, noise and sound art. In addition, he is an internationally active author, lecturer and curator and raises awareness regarding socio-political issues such as inequality or precariousness in the artistic creation realm.

In this interview he talks with Gabrielle Weber about sound and hearing.

Congratulations on being awarded first of all! Were you surprised?

I am very happy thanks and I was a bit surprised I admit. Especially since my work is rather on the edge of the commercial music scene and cannot be assigned to any genre.

What does this award mean to you?

The prize is a sign of recognition that my professional practice, which has now been going on for twenty years, is being acknowledged. I was not trained in an institution, but in real life and through practice. Receiving the prize as an individual artist, however, is kind of ambivalent though, as my music mainly develops in a collective practice and there are often several people involved.


Antoine Chessex / Eklekto: écho/cide, Ausschnitt

Does the price have a special meaning in these peculiar times of corona pandemic? The topic of precariousness in music creation is central to many and you draw attention to it in your magazine “Multiple”…

The current situation shows how fragile and precarious the whole system is for many freelance artists in Switzerland. Many musicians are professionally forced to live in a state of improvisation. They only make ends meet by combining different (cultural) works. If one element is missing or gets lost, the whole situation quickly collapses. The complexity of the matter is also due to the fact that artists need a lot of time to experiment and research and to always be “productive” therefore becomes problematic. In my opinion, art is not a service, but rather a social activity, so the real question today is under what circumstances art and music creation as a profession can still exist.

 “It’s like sonic fiction, letting imagination unfold”

You question the romanticised sound image of nature in music. Some of your works have been compared to ” primal elemental forces “, like earthquakes, tsunamis or volcanic eruptions.

My music perhaps represents nature more metaphorically, as I whish to deconstruct clichés portraying nature as just beautiful, calm and harmonious. Nature is also chaotic, violent and loud. In works like “The experience of limit” the piano sounds like a storm at sea. It’s like sonic fiction, letting imagination unfold. I’m tonally interested in phenomena like seismic activities, tornadoes, snow avalanches or heavy rainfall for instance.


Antoine Chessex / Tamriko Kordzaia, The experience of limit

You associate sound and hearing with power and plead for critical listening: What is it all about?

Music is culturally constructed and embedded in various historical traditions. Basically, however, I am mostly concerned with the relationship between sound and hearing. Hearing is never neutral, but always situated. There are complex mechanisms at play and it is about power relations: The tradition of the European avant-garde, for example, excluded many voices. It takes debate to uncover the boundaries of the audible and the term “critical listening” invites us to listen and question power relations as well as social dimensions.

Music scenes and institutions often operate homogeneously, while reality is highly heterogeneous.

Your works live between improvised and written music, noise and sound art – without any fear of contact between musical genres: how does this work in the practice of the institutions?

When it comes to sound and hearing, music genres become obsolete, although cultural institutions are usually organized according to them. In the independent scene, music functions differently than in the institutional contemporary framework and sound art requires different spaces. Music scenes and institutions often operate homogeneously, while reality is highly heterogeneous. The more artists move between the different scenes, the more structural changes can take place.

You are not “only” a composer and musician, but also active as curator, e.g. for the “Textures” festival at legendary Café OTO in London. Do your composing and curating activities influence each other?

Curating is mainly about other artists and bringing people together. Composing, curating, but also improvising and artistic research are connected in many ways and represent different aspects of my practice.

Portrait Antoine Chessex @Londres © A.Lukoszevieze

A new composition by Antoine Chessex will be premiered at Festival Label Suisse in September, interpreted by Simone Keller on church organ and Dominik Blum on Hammond organ.
Interview: Gabrielle Weber

Antoine Chessex / Schweizer Kulturpreise BAK / Festival Label Suisse / Café OTO London

Broadcasts SRG: RSI/NEO, Redaktion Valentina Bensi, 28.7.20, 20h: incontro con Antoine Chessex

neo-profiles: Antoine Chessex, Swiss Music Prize, Simone Keller, Dominik Blum, Tamriko Kordzaia, Eklekto Geneva Percussion Center

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“We consider space and sound as one”

On July 4 and 5, the closed-down chemical factory of Uetikon am See will host Al(t)chemiefestival, a small, carefully curated music festival presenting a wide musical spectrum ranging from classical to contemporary music, performance and sound art. The disused factory site is of particular importance in the festival context.

Die Chemische @Uetikon am See

“Die Chemische” as it’s lovingly called, is a 200-year-old chemical factory and a monument of industrial culture situated in a prime location on the lake of Zurich.

A new complex will be built there by 2028, hosting a school, offices, apartments and commercial premises. Currently artists and musicians have established studios and workshops there, as the large area will be used for cultural purposes until the conversion is completed.

Marcel Babazadeh, sound engineer, and Sophie Krayer, stage designer, have been running the Klang und Raum studio in the “Chemische” for some time now, offering sound consulting for public spaces and creating artistic projects that combine music with space. During the lockdown, the Atelier caused a sensation with live streaming of digital concerts, during which an enthusiastic social media community of well over 1000 people came together each Monday.

This is how the idea of Al(t)chemiefestival came to life.

Pianist Tamriko Kordzaia has been working with the duo for a long time and contributed to the Digital Concerts with a contemporary solo recital. She is the third member of the curators-directors team.


Tamriko Kordzaia, Karolina Öhman, Iannis Xenakis (Artarea 2020)

According to Kordzaia, the idea of promoting the musical side of the area through a festival had been around for some time now. Corona had initially inhibited the plan, but as the restrictions loosened up it became an inspiration to spontaneously take up the idea again. And – especially due to numerous requests for participation from ” starving ” artists – the project took off and expanded into a two-day festival.

Portrait Tamriko Kordzaia

Furthermore, the area is perfect regarding the current corona guidelines. According to Kordzaia: “One can play in different rooms and change places, play music indoors and outdoors, but also take a walk by the lake in between or simply linger”. For example, one concert takes place in a vintage furniture hall, while others take place outdoors.

“we would like to take advantage of the artistic synergies of the entire area” (Kordzaia)

The place is not just a backdrop for the festival, according to Babazadeh “We are in dialogue with the space, with the place and also with history”.

With the Al(t)chemiefestival, the trio of directors wants to set an example. Kordzaia  says: “Through Corona and the paralysis of all artistic activities, it is important to us to involve as many musicians from the area as possible and to give them the opportunity to play”.

The musical leitmotif of the festival is very personal, as musicians perform pieces of their own choice that they have been working on intensively during the lockdown, freshly created compositions or projects that were postponed during the break. Trombonist Nils Wolgram, for example, presents new pieces of a CD that will be released in autumn.


Nils Wogram: Sneak Preview, Soloprogramm 2020

The line-up includes both new and traditional works: composer Stefan Wirth for instance plays his own but also Beethoven’s piano works and Dominique Girod performs outside on the double bass.

There is also electroacoustics, for example by Nicolas Buzzi, as well as a sound installation, a “sonic sphere”, by Krayer and Babazadeh.


Nicolas Buzzi: ssssscccccaaaaallllleeeee, 2019

“Al(t)chemie” or “alchemy” – the (t) is in brackets and this ambiguity refers to musical variety but also to the magic of the place. “It’s a killer area – and when it mixes with sound and live performance, it becomes unique,” says Babazadeh.
Gabrielle Weber

Die Chemische

The Al(t)chemie festival will take place on July, 4 and 5 in the closed down chemical factory of Uetikon am See.

On both days there three concert blocks will start at 15h00 and given the current corona situation, the audience is kindly asked to register.

Due to the great demand, the Digital Concerts will continue until the end of August.

Al(t)chemiefestival, Digital Concerts, Stefan Wirth, Dominique Girod, Nils Wogram, Kappeler-Zumthor, Karolina Öhman, Isa Wiss, Sophie Krayer, Tobias Gerber/Ensemble Werktag, Philipp Schaufelberger…

Neo-Profiles: Al(t)chemiefestival, Tamriko Kordzaia, Stefan Wirth, Nicolas Buzzi, Karolina Öhman, Peter Conradin Zumthor

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The now In Sound

The renowned Swiss-based online magazine Norient, founded in 2002, has recently been integrated into the new online platform Norient Space – The Now In Sound. With a community of 700 journalists*, musicians* and scientists* from over 70 countries, this new platform bundles digital reflection on global contemporary and experimental music creation.

Snapshot Iokoi ©Norient

On March 5th, Norient Space’s beta version was launched at “Haus der Kulturen der Welt” in Berlin. A panel as well as a sound installation complemented the opening of this new “virtual transdisciplinary gallery and community platform between art, journalism and science”. The Swiss launch is scheduled for September 24.

Julia Vorkefeld was there at the Berlin launch and reports for neo.mx3 about Norient Space and the panel Life after Music Magazines-the Norient Way.

The independent Swiss music and media art platform Norient reinvents itself after almost 20 years. Culture’s glory days are over and in times when music analysis consist of the hearts and likes of the post-digital era, the challenge for music journalism is to keep innovative. The Now In Sound is Norient’s motto and the sound of now is a mirror of global events – which is what makes music journalism still relevant. The platform relaunched its project in a strategically smart way, starting from Berlin with an event in the prestigious “Haus der Kulturen der Welt”.

Snapshot Bruno Spoerri ©Norient

A relaunch is a rather brave undertaking these times. We had no idea that shortly after the Berlin launch, a virus would completely freeze all cultural industries and throw many of its actors into even greater precariousness. Not to mention that many renowned music magazines, such as Spex and Groove, had buried their analogue products and the Swiss magazine Dissonance had to abandon completely.

Independent music journalism has therefore eventually been declared an endangered species. The relaunch’s kick-off was accordingly complemented by a panel on the future of music journalism under the title “Life after Music Magazines-the Norient Way” which announced the fact that virtual, interdisciplinary, global, collaborative and transmedial should be some of the solutions for contemporary music journalism.

No – Orient: virtual, interdisciplinary, global, collaborative and transmedial..

Under the motto Connecting the dots – the network stands for shared knowledge production and its makers pursue ambitious ideas with it. Norient has been committed to diversity from the very beginning, long before it became a buzzword in the German-speaking cultural branch. Diversity not just as an empty phrase, but as serious policy for the name alone, a play on words from No and Orient, contains the avoidance musical exoticism and the associated power relations.


Norient Snaps Trailer 2020

The panel reflects the platform’s internationality and diversity and global players, such as Jenny Fatou Mbaye (Centre for Culture and the Creative Industries, City University of London), Faisal M. Khan (curator, Akaliko Collective, Dhaka) or Kamila Metwaly (music journalist, musician Savvy Contemporary Berlin) were involved.

The main focus was on how the platform could improve its content and formal orientation, with the aim of achieving more diversity, more internationality, new formats and events, and thus more quality overall.


Joy Frempong, The sample shapes the song, 2012

We care about content – is another motto and all speakers agreed that journalism in general and thus also music journalism should refocus on quality and that creating high-quality content has its price. However, since music platforms and editorial offices usually pay poorly, it is no wonder that music journalism is degenerating more and more into a badly paid hobby. It is a sad fact that music reviews are used as a corporate and marketing tool by global brands such as RedBull or Ballantines, as in these cases money would actually be available for cultural knowledge production. In order not to leave the shaping of culture to the brands, other solutions for financing independent music platforms, free of advertising, censorship and algorithms must be found. One solution the speakers pointed out could be more generosity in sharing content.

Financial precariousness in music journalism, however, was not discussed in depth and as I personally raised the issue, it was clear that all those involved were well aware of the problem. The input to consider as many professional areas as possible was however hardly convincing.

Snapshot No Orientalism ©Norient

Norient tries to finance itself through a membership model. Connoisseurs who appreciate the platform support its content through subscriptions, and selected in-depth content such as dossiers or specials is reserved for subscribers while the rest of the platform is free of charge.

Whether Norient will be able to survive with its new model is not certain but we really hope so, because in an era of ethnic backlash, such cultural platforms are deeply needed.
Julia Vorkefeld

Norient Space is currently in beta mode. The official digital launch will take place on September 24th.

Norient – The Now In Sound, Wael Elkholy, Jing Yang, Jonas Kocher, Joy Frempong/Oy

Sendungen SRF 2 Kultur, 22.1.2020

Neo-Profiles: Norient, Wael Sami Elkholy, Jing Yang, Jonas Kocher, Bruno Spoerri