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World premiere in 100 years?

Music of the future – escaping the Zeitgeist this is the title of a project to celebrate SUISA’s 100th birthday. 40 Swiss musicians were asked to write down their ideas regarding music that will be premiered in a hundred years’ time: A greeting from the present for the year 2123 to hopefully mark SUISA’s 200th birthday. The project was presented at the Yehudi Menuhin Forum in Bern on 16 April 2024. Bettina Mittelstrass spoke to the musicians involved.

 

The composition by HYPER DUO is titled with the number of seconds from now until 2123—3,406,699,560. Here is a roto of HYPER DUO at a Vinylséance on November 21, 2020 © 2020 Pablo Fernandez.

 

Bettina Mittelstrass
Helena Winkelmann, the HyperDuo, Joke Lanz, Martina Berther, Patrick Frank, Annette Schmucki, Fritz Hauser and Nik Bärtsch – these are just seven of a total of 40 Swiss musicians whose music of the future ended up in an archive box in April 2024 without ever being heard. Hermetically sealed, this archive will be supervised by the Swiss National Sound Archives in Lugano for 100 years and displayed in the entrance area of the Città della Musica. The archive will hopefully not be reopened until 2123, when the music will be awakened from its slumber and played for an audience not even born yet.

Leo Hofmann describes his music of the futur in a graphically designed text.

How will Switzerland sound in 100 years?

How will Switzerland sound in 100 years? An initial answer could be lying dormant in the archive box. The answers were not easily found by the 40 respondents. Scepticism prevailed. What instruments will be available in 100 years’ time? Will there still be western musical notation? Wooden instruments? Or will climate change have killed off the trees? Against the backdrop of the planet’s dwindling resources, it is impossible to know whether we will “ultimately have to burn violins and boil strings so as not to freeze or starve to death”, says percussionist Fritz Hauser.

He therefore set his composition in Morse code – in the hope that these archaic signs will inspire people of the future to make rhythmic music, whatever the instrumentation.

 

Fritz Hauser transcribes his music of the future entirely in Morse code. Here is his Schraffur for gong and orchestra, Basel Sinfonietta 2010, an SRG/SSR in house- production.

 

Music as ambassador for interplay?

Despite all the scepticism about what music will mean or enable in 100 years’ time – it will probably retain two social functions, says Swiss-Dutch composer and violinist Helena Winkelmann: acting as ambassador for interplay and mediator as well as integrator of good energy. Another thing is likely to persist in human societies, namely “that people will continue to have problems living together in the future.”

Helena Winkelmann has therefore placed the instructions for a ‘music council’ of the future in the archive box. It is the musical version of a thousand-year-old concept, the “Council of Chiefs” of indigenous American societies. In a circle, musicians take on different functions – both musically and socially. There is – for example – a questioning voice, an inventive voice, a preserving voice, a warning voice, a narrative voice and a developing voice. “That’s also the magic of this whole circle, in the sense that it is the exchange of perspectives that really helps us move forward.”

 


Helena Winkelmann contributes to the archive box with instructions for a ‘Music Council of the Future‘. In Geisterlieder, a cycle based on poems in 18 European original languages accompanied by various instrumental groups, Helena Winkelmann also explores the overcoming of temporal and regional boundaries. World premiere on August 5, 2023, at the Church of Ernen, an SRG/SSR in house- production.

 

A spaceship full of perspectives and criticism of the present

“This little spaceship basically contains a cross-section of current Swiss music creation,” is how ethnomusicologist and curator Johannes Rühl, inventor of the project, describes it. New music, electronic music, jazz, pop and folk music are represented among the 40 composition proposals, as well as sound installations and crazy ideas such as music with mushrooms, whose amino acids can already be converted into sounds today. Another proposal takes the sound of melting glaciers and transports it in the form of DNA into a future in which there will presumably no longer be eternal ice in the Swiss Alps.The sound of melting glaciers transported into the future in the form of DNA.

 

The sound of melting glaciers is transported by Pablo Diserens into the future in listening to glacial thaw in the form of DNA. © Clément Coudeyre.

 

Most of the proposals submitted for the archive box were characterised by a sceptical and socially critical zeitgeist, confirms Johannes Rühl. The attempt to escape the zeitgeist was understandably bound to fail. “We obviously cannot get out of the now. You also get the feeling that there is a dynamic in development these days which did not exist in the past.” Is that true? We won’t be around in 2123 to find out. May those after us play “our” future music or not.
Bettina Mittelstrass

 

Zukunftsmusik – dem Zeitgeist entkommen: 100 Jahre SUISA. The original idea came from Johannes Rühl, ethnologist and curator of music programmes.
Città della Musica 

broadcasts SRF Kultur:
Zukunftsmusik, Passage, 12.4.2014: Redaktorin Bettina Mittelstrass

neoprofiles:
Helena Winkelman, HYPER DUO, Joke Lanz, Martina Berther, Patrick Frank, Annette Schmucki, Fritz Hauser, Leo Hofmann, Nik Bärtsch, u.a.

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Heading towards something new

Roman Hošek: Neuerdings – Faszination Sound @ launch srf video series

Neuerdings – a video series in collaboration with SRF 3 Sounds! and SRF 2 Kultur presents experimental music creation up close. In four portraits, it traces the creative paths in the sound labs of Noémi Büchi, Julian Sartorius, Martina Berther and Janiv Oron. Roman Hošek introduces the series and the portrayed artists for the launch at Bad Bonn Kilbi festival on June 2, 2023.

Roman Hošek
Büchi, Sartorius, Berther and Oron are all seasoned musical personalities and some already won important prizes and can regularly be encountered in renowned projects. They all pursue a radically individual creative path – in which success plays a subordinate role. For them, it’s all about doing. The four musicians talk about their uncompromising creative will in a new documentary series.

 

Sound is matter

Noémi Büchi takes everyday objects such as paper or screws and extracts sounds from them in order to make music. For example, she tears the paper, records the sound with a microphone and manipulates it with effects and computer software.

In this way, everything becomes an instrument for Noémi Büchi. She used to play classical piano. Today it is keyboards, tone controls and computer pads that the Zurich-based artist operates and with which she controls her self-generated sound sources. The result is a sound collage that invites the audience on a breathtaking journey and encourages them to move.

Because moving something is important for Noémi Büchi. Her symphonic music is not a commentary and carries no message, as what matters to her is making sound visible and tangible. She notices this especially live, when sound waves become physical.

 


Video-Portrait Noémi Büchi: Neuerdings – Faszination Sound, in house-production SRG/SSR

 

Sound is craft

Julian Sartorius likes to move around outdoors or, for example, through factory halls, drumming on objects with his drum sticks. The wide range of sounds he is able to extract from seemingly ordinary objects, such as lids, pipes or wires, and how he manages to produce attractive-sounding beats is amazing.

The Bernese drummer is strongly inspired by electronic music, but creates his sounds exclusively with his hands and on acoustic instruments and objects. What’s appealing to him is to create almost artificial sounds with something natural.

Another facet of Sartorius’ artistic work is the production of beats, and here too he goes his own peculiar way. For example, he likes to work with an old-fashioned cassette player, which – compared to a digital sequencer programme – limits him in terms of technical possibilities, but forces him to make immediate artistic decisions.

 


Video-Portrait Julian Sartorius: Neuerdings – Faszination Sound, in house-production SRG/SSR

 

Sound is quest

Martina Berther gets much more out of her electric bass than just low frequency notes. Violent storms or vast soundscapes open up before the mind’s eye when she gets her instrument vibrating with her effect devices and preparation tools – such as steel wool, sanding block, bottleneck or violin bow.

The solo performer from Graubünden says she makes experimental music because she can thereby surprise herself and has great freedom. At the same time, dealing with this freedom is not always easy. A contradiction? No. It is this tension – between success and failure – that is the main appeal for Martina Berther.

Just like a solo performance, the search for sounds can become a balancing act, as there are many uncertainties and even doubts. For Martina Berther, there must be an intention behind every sound before she includes it in her repertoire. No room for randomness.

 


Video-Portrait Martina Berther: Neuerdings – Faszination Sound, in house-production SRG/SSR

 

Sound is reaction

Janiv Oron is like an inventor in a music laboratory. When the former DJ creates his sounds, the record player is often still central, but he expands it in experimental ways with other sources, such as a rotating loudspeakers or marbles track.

The sound performer from Basel not only directs his sound machines, but also reacts to random impulses that he receives back, seeing this as a “source of uncertainty” and he consciously engages in it to include improvisation into his work. Oron does not turn away from the digital world, but he feels a stronger fascination with analogue and physically functioning sound sources. These may offer less possibilities in comparison, but they are haptic and can be operated by hand instead of on a screen.

 


Video-Portrait Janiv Oron: Neuerdings – Faszination Sound, in house-production SRG/SSR

 

“Neuerdings” – Faszination Sound

“Neuerdings” is a video portrait series about these four Swiss musicians. They are pioneers of tomorrow’s music, whose work is between contemporary electroacoustics, experimental music and pop, and thus also finds international acclaim.

Switzerland is particularly strong in these intermediate areas, not least because of the numerous study degree programmes focusing on transdisciplinary and progressive musical practice. On the other hand, more and more events and growing interest among the public are also slowly but surely emerging.

The portrait series, a collaboration between SRF 3 Sounds! and SRF 2 Kultur, offers a glimpse into to the sound tinkering rooms of the four musicians, who are all breaking new ground with their work and are therefore difficult to place stylistically. In the videos, they talk about their radical approaches and describe the inaccessible and innovative potential of new sounds.
Roman Hošek

The launch took place at the festival: Bad Bonn Kilbi, friday 2.6.2023

broadcasts SRF Kultur:
Musik unserer Zeit, 7.6.2023, 20h: “Neuerdings”: Schweizer Musik mit Pioniergeist, author Roman Hošek
in: MusikMagazin, 3./4.6.2023: Swisscorner, Vier Schweizer Soundartists (ab Min 46:59), author Lea Hagmann
srf online-Text: Sie schrauben am Sound der Zukunft, author: Claudio Landolt

broadcast SRF 3:
Sounds!, 7.6.2023, 20h: Neuerdings: Schweizer Musik mit Pioniergeist, author Claudio Landolt

Neuerdings on playsuisse

Neo-profiles:
Noémi Büchi, Julian Sartorius, Martina Berther, Janiv Oron

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Dominik Grenzler aka An Moku. Sound artist and explorer

Discovery! is one of our goals for the new year, so neoblog will regularly portray something particular, picked from the growing pool of profiles and starting with Dominik Grenzler aka An Moku. I talked to Grenzler every now and then over the years.

Gabrielle Weber
Grenzler aka An Moku has been enormously productive since before the first Shutdown, but the pause actually suited his music in an almost organic way, as it combines urban with nature sounds. Grenzler, the nature-loving electronic sounds explorer, took advantage of the first to start new collaborations, making use of field recordings as well as material from his environment, nature, everyday life and previous travels.

In a very short time, three new CDs were produced one after the other.

Dominik Grenzler aka An Moku ©zVg Dominik Grenzler

“For my Shutdown collaborations, I used field recordings from my large collection gathered during my travels. They are like some kind of travel diary. Since I couldn’t be on the road physically, I travelled with them online and in addition, I digitally explored unexpected territories”.

Grenzler is originally from Gdynia, Poland, he moved to Germany when he was young, where he started making a name for himself as electric bass player in the club and pop scene first. A few years ago he relocated to Zurich and started various collaborations with local musicians as An Moku, his pseudonym for experimental music. He is also planning on new collaborations, for example with bassist Martina Berther.


An Moku & Frederik Vanderlynden, Mirror / Of Mirrors, 2020

The CD Of Mirrors dates from 2012 already and was created together with Belgian sound artist Frederic Vanderlynden aka Virlyn, using field recordings from Iceland. The album languished on a shelf for a long time and only found its final shape through collaborations with Swiss musicians Cornelia Stromeyer, piano, Oriana Zänerle, violin and Jacki Knöpfel, cello. “The CD actually reflects a journey into the past,” says Grenzler.


An Moku & Frederik Vanderlynden, Frost / Of Mirrors, 2020

Of Mirrors offers an incredibly wide and extremely subtle variety of colours. The first track begins with a shimmering, crackling sound. Minimal tonal changing sound carpets, repetitive patterns gradually break the electronic flickering, while instrumental sounds evoke concrete, indeterminate places over and over again. In Of Mirrors, Grenzler conveys moods with an almost cinematic approach: images are created in the mind, vague landscapes, vastness and distance.

Music evoking images is also the subject of An Moku’s CD with Joel Gilardini. The opportunity to collaborate came about through Grenzler’s invitation to Zurich’s tenth edition of “Marathon des Zelluloids” in December 2019. A silent film festival where the soundtracks are performed live.


An Moku & Joel Gilardini, 2020

The CD features improvisation sessions by Grenzler and Gilardini dating from autumn 2019 onwards and during which the two found a common voice regardless of the specific movie, Grenzler explains. This was only announced shortly before the festival: three short films by US avant-garde filmmaker Maya Deren from the 1940s. Grenzler states that Maya Deren did well serve as a soundtrack, but what actually took shape was some kind of “Kopfkino” (cinema inside the viewer’s mind).

The tracks on the CD are also vague, almost mysterious, and leave room for the listener’s own imagination. For instance, they have no titles, only enigmatic numberings: 5 – 11.2 – 2 – 13 – 8 – 11.1 – 10, giving no clue regarding their content.

“The album has just been nominated in the Top 100 Ambient Albums of 2020 by music blog “Post Ambient Lux”, says Grenzler happily. On the latest album ‘Where We Meet’ meets Belgian guitarist Stijn Hüwels. It was created during the spring lockdown, between Zurich and Leuven and is their first collaboration.


An Moku & Stijn Hüwels, Where we meet, 2020

“The album is filled with tiny field recordings. A few seconds are usually enough for me to give the musical context an interesting colour, or a twist. With today’s technology, even a woodpecker in the forest can sound strange…”, says Grenzler about the album.

Atonal madness and imagined worlds

“In the old days, I used to play rock and pop. Nowadays I’m less interested in harmonic melodies and more in moods,” says Grenzler, describing An Moku’s music as “atonal weirdness”, and his musical genres as “experimental music, dark ambient, drone, soundtrack”.

An Moku, his alter ego, comes from the Japanese and means: “tacit, unsaid, implicit”, thus embracing what cannot or should not be put into words and resonates or is self-evident. That sums up An Moku’s secret.

An Moku evokes distant worlds, both geographical and temporal, leaving room for one’s own imagination. Accordingly, the CD covers are characterised by a Japanese minimalist aesthetic: black and white to deep blue, mostly Grenzler’s own photographs, with landscapes and few unrecognisable people. “Minimalism runs through everything with me – whether sound or image. I would prefer to make music consisting of only one element.” he confirms.

For the time being, another shutdown born album in collaboration with Stefan Schmidt from Germany is planned for early 2021 on Karlrecords, as well as a minimalist bass-guitar solo album to be released in spring by the New York based label Puremagnetik.
Gabrielle Weber

Dominik Grenzler aka An Moku ©zVg Dominik Grenzler

Of Mirrors: Collaboration between Grenzlers Zurich based Label EndTitels and british Label Audiobulb.

An Moku und Joel Gilardini: on japanese Label  Bullflat3.8.

Where We Meet: on british Label Slowcraft Record

An Moku, Martina Berther, Maya Deren, Stijn Hüwels, Joel Gilardini, Frederic Vanderlynden aka Virlyn, Marathon des Zelluloids, Stefan Schmidt, Karlrecords, Puremagnetik, «Post Ambient Lux»

Neo-Profiles
An Moku, Martina Berther, Joel Gilardini

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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