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100 Years IGNM – A fellowship of companions

The “International Society for New Music” was founded 100 years ago, with the aim of creating network- as well as showcase-opportunities for contemporary music from all around the world. Its Swiss section, SGNM, was launched in Winterthur the same year. It organised six of the annual “World Music days” in 2004 and contemporary music even travelled through Switzerland by train.
A portrait by Thomas Meyer.

 

Two works from Switzerland were premiered in 2016 in Tongyeong, South Korea: by Claude Berset (La Ménagerie de Tristan, a semi-staged chamber suite for children on poems by the surrealist Robert Desnos) and by Iris Szeghy (Gratia gratiam parit for choir a cappella).

 

Thomas Meyer
31 years ago, in the church of Boswil, the ‘ensemble für neue musik zürich’ played an exciting programme, including works by Japanese composer Noriko Hisada and Australian composer Liza Lim. The two were not yet thirty years old and unknown in this country at the time – but they were not to remain so for long, as the ensemble was enthusiastic and gave them both several commissions over the decades. CDs were made and a long friendship developed. That concert is a beautiful example to me of what could happen at the so-called “World Music Days”.

 


Voodoo Child by Liza Lim (1990) – ensemble für neue musik zürich directed by Jürg Henneberger / Soprano: Sylvia Nopper, Kunsthaus Zürich 1997, © SRG/SSR

 

The festival took place in Zurich in 1991, gathering musicians from all over the world and on one afternoon the guests were taken to the idyllic Freiamt. These “World Music Days” thus fulfilled precisely the purpose of bringing new music from all countries together across oceans and continents, as stated by the festival’s organisers: the “International Society for Contemporary Music IGNM” or ISCM.  The input came from the composers Rudolf Réti and Egon Wellesz. On 11 August 1922, an illustrious crowd met at the Café Bazar in Salzburg. Names like Béla Bartók, Paul Hindemith, Arthur Honegger, Zoltán Kodály, Darius Milhaud and Anton Webern were among those present; others had excused themselves.

The time were highly interesting, immediately after the world war had destroyed all order and nothing could be taken for granted any more. New music found itself in a changed culture. Exhausted by the war, but also by the violent scandals of 1913, it began to withdraw and organise itself. Schönberg and his circle in Vienna during the years 1918-21 with their “Verein für musikalische Privataufführungen”. Edgard Varèse founded the “International Composers’ Guild” in New York in 1921 with the aim of performing modern music. In the same year, the «Kammermusikaufführungen zur Förderung zeitgenössischer Tonkunst» were held for the first time in Donaueschingen. The name is significant, contemporary music had to do something and reform itself.

Richard Strauss was involved as president in IGNM’s founding, but soon handed the office over to English musicologist Edward Dent. Although the first impulse came from the Austrians, the British soon took over both leadership and administration. National sections came into being. As early as October, Werner Reinhart, a patron of the arts from Winterthur, Switzerland, came forward and announced a Swiss section. He had money and an interest in contemporary music, so the section took up residence at Rychenberg. In 1926, the World Music Days were held for the first time in Zurich, where, for example, Webern’s Five Orchestral Pieces op. 10 were premiered, followed by Geneva in 1929. The IGNM ship set sail and crossed the continents for its festivals.

 

World music festivals stand for communication and exchange between countries

The World Music Festivals are the heart of the organization, trying to do something in order to unite nations – even if only by approaches. “No music festival, no arts community would be able to prevent catastrophes like the one that broke out in 1914,” wrote Austrian music historian Paul Stefan after the Geneva festival. “But every bond has been tightened since then, and quite unlike in the past, the artists of today have become companions.” Admittedly, this degenerated into conflict again a few years later, when in 1934, on the initiative of Richard Strauss, a counter-organisation, the Nazi-affiliated “Permanent Council for the International Cooperation of Composers”, was set up to undermine the influence of the IGNM. In 1939, for example, Czechoslovak musicians were forbidden to travel to the World Music Festival in Warsaw.

All member countries propose compositions for the World Music Festivals, which are then evaluated by a jury on site and supplemented with programme ideas from local organisers. Fifty-fifty should be the ratio between the two parts. The programme is colourful and usually has no common denominator. But taking a look at the list of works, one can find many masterpieces. For example, Schoenberg’s Moses und Aron was premiered in Zurich in 1957. Some things might get lost or forgotten, but long and lasting connections are made, which is IGNM’s essence: communication and exchange between countries.

 


Gemini, Konzert für zwei Violinen und Orchester by Helena Winkelman, Premiere with Sinfonieorchester Basel and Ivor Bolton, violins: Patricia Kopatchinskaja / Helena Winkelman: the first woman to represent Switzerland at the World Music Days in Ljubljana in 2015, where her piece Bandes dessinées was premiered.

 

In 1970, the World Music Days took place in Basel, in 1991 in Zurich, and in 2004 the IGNM delegation travelled by train throughout Switzerland. This unusual idea under the title Trans-it was developed by a team around composer Mathias Steinauer, a completely new kind of impulse.

 


Steinschlag (1999) by Mathias Steinauer «World Music days» 2004 at Infocentro NEAT.

Those were the highlights, but in general the Swiss section, SGNM, is rather quiet and anchored in the local scene. The national society currently consists of eight regional groups. Several festivals and ensembles are also affiliated members, all organising concert series and often bringing unknown music to this country.

The national section has become significantly more active again in recent years however. Singer, performer and composer Javier Hagen has set some accents since taking over presidency in 2014.

 

The Valais singer, performer and composer Javier Hagen has been president of the SGNM since 2014

 

First of all, this concerns historical examination, as some things had been handed down incorrectly and had to be corrected – which was especially important in view of the centenary. Valuable correspondence on the founding period was found in Winterthur. Documentation is necessary because much has been lost and difficult to find. Fortunately, former SGNM president, Zurich critic and organist Fritz Muggler, has a rich archive.

 

66 IGNM sections from 44 countries

The world music festivals are also documented. Not only the past, but also the present comes alive. Even if you were to travel to the festivals every year and listen to around 120 works each time, that would still make it impossible to get an overview of what is happening in all 66 sections from 44 countries. That is why the SGNM regularly presents music from all over the world in its “Collaborative Series” online.

For the jubilee, the Swiss organised a choral competition in four categories together with the Basques, Latvians and Estonians – a sign that SGNM wants to open up to other circles. 108 compositions from 78 countries arrived, with Luc Goedert from Luxembourg and Cyrill Schürch from Switzerland winning the first prize aequo.

 


Cyrill Schürch, Nihil est toto – Metamorphosen for choir a capella, premiere with the Zürcher Sing-Akademie and Florian Helgath, Zurich 2018, inhouse-production SRG/SSR.

 

There has also been an opening inside the head association, ISCM. At Javier Hagen’s suggestion, the number of official ISCM languages – so far German, English and French – has been expanded to include Arabic, Chinese, Russian and Spanish. The world is opening up – and music with it. A sign of this is that next year the IGNM will meet for the first time in South Africa, in Johannesburg/Soweto. 
Thomas Meyer
Read more about the association’s first six decades, in the exhaustive volume IGNM – The International Society for New Music by Swiss musicologist Anton Haefeli.

The SGNM homepage features many tracks as well as visuals documents.

SGNM is also committed to Swiss Music Edition (distribution of musical scores) and musinfo database, two important tools for local music and its distribution.

neo-profiles:
ISCM Switzerland, Javier Hagen, Mathias Steinauer, Helena Winkelman, Liza Lim, ensemble für neue musik zürich, Cyrill Schürch, Patricia Kopatchinskaja

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Super instruments and beautiful monsters – Xenakis turns 100

Xenakis-Tage Zürich will take place on May 28 and 29 2022, to mark Iannis Xenakis’ 100th birthday. The festival was initiated by the musicologist Peter Révai, who managed to bring Iannis Xenakis to Zurich in 1986, during the “concert series with computer music” founded by Révai. The three concerts of the Xenakis-Tage present a wide range of the composer’s work.

 

 

Portrait Iannis Xenakis 1973 © les amis de Xenakis

 

Cécile Olshausen
Composer Iannis Xenakis (1922-2001) is usually defined as follows: Greek resistance fighter with a severe facial injury, Le Corbusier’s assistant (later also competitor), and musical mathematician. His daughter Mâkhi brings another and surprising aspect into play, reporting that her father was actually a romantic and that Johannes Brahms was his favourite composer. The book that Mâkhi Xenakis wrote about her father in 2015 is soon to be published in German and co-editor Thomas Meyer will present it in Zurich. Father and daughter were bound by a loving but also ambivalent relationship. Xenakis absolutely wanted his daughter to follow the mathematical and scientific path, with art coming later; just as he had exemplified. As a compromise, Mâkhi Xenakis studied architecture, but she became a sculptor and painter.

So apparently Xenakis loved Brahms while developing his visionary sound worlds. He worked with electronic music and percussion because he saw a great potential for sounds that had never been heard before.

 


Iannis Xenakis often worked with percussion, an instrument in which he saw great potential for new sounds, Rebonds B for percussion (1987-1989), Marianna Bednarska, Lucerne Festival 22.8.2019, SRG/SSR production

 

But he also transformed one of the most traditional genres, the string quartet, into something new. His string quartets will be performed in their entirety in Zurich by the Arditti Quartet, for whom Xenakis composed three of the four quartets. A tour de force, because the works are extremely difficult to play.


«Superinstrument» String Quartet

Goethe Bonmot’s statement that one hears “four reasonable people talking among themselves” in a string quartet does not match these works. Xenakis breaks with almost each and every tradition of the string quartet. There is no exchange of musical thoughts, no development of motifs, no individual statements. Rather, Xenakis seems to be writing for a single, intricate “super instrument”, tracing and racing through the entire tonal space, from extremely low to pointedly high, constantly changing timbres with tremoli, pizzicati of all kinds and “col legno” parts, i.e. notes played or struck with the wooden part of the bow. And above all: the four string players whiz their fingers across the fingerboards, leaving trails of fire behind. Especially in the first two quartets (ST/4 and Tetras), the glissando is Xenakis’ favourite musical medium. With it, he creates a fascinating weightlessness of sound. Xenakis also realised this floating in his architecture: the Philips Pavilion he designed for the 1958 World’s Fair in Brussels, with its bold curves, is glissando music cast in concrete.

 


In Phlegra for ensemble from 1975 Xenakis’ fondness for glissandi can be heard well, Ensemble Phoenix Basel, Dir. Jürg Henneberger, Gare du Nord, 3.11.2018, SRG/SSR production

 

Rarities will also be part of the Xenakis-Tage Zürich and they reveal a completely different side of his oeuvre, namely chamber music reminiscent of folk music. These compositions belong to Xenakis’ early days. The composer was born in Romania and the very first music he heard as a child was folk music, played in the coffee houses and on the radio of his native city Brăila. That is why traditional Romanian and Greek music finds an echo in his early chamber music works.

Another aspect of Xenakis’ work will be featured during a matinée on Sunday morning in the Pavillon Le Corbusier, with his last electronic composition: GENDY3 from 1991, where Xenakis’ great dream of a composing automaton became reality. In GENDY3, the computer uses random operations to control not only the sound events, i.e. rhythm, pitch and tone sequence, but also the timbres. Compared to some of today’s computer-generated music, which is not meant to sound like a computer at all, GENDY3 embraces the fact that a machine is in charge, roaring and squeaking and humming. Xenakis once said that he hoped his music would not sound “like a monster”. But GENDY3 does sound like a living thing – a fantastic, beautiful monster.
Cécile Olshausen

 

Portrait Iannis Xenakis 1988 © Horst Tappe

Les amis de Xenakis, Iannis Xenakis, Johannes Brahms, Mâkhi Xenakis, Thomas Meyer, Arditti Quartet, Le Corbusier, Philips Pavilion, Peter Révai, Pavillon Le Corbusier

 

Xenakis Tage Zürich, 28. and 29. May 2022

mentioned events:
Saturday 28. May, 20:00, Concert String Quartets, Arditti Quartet, Vortragssaal Kunsthaus Zürich
Sunday 29. May, 11:00, Concert and discussion, GENDY3, Pavillon Le Corbusier
Sunday 29. May, 18:00, Concert introduction with Thomas Meyer / Concert Chamber Music, Swiss Chamber Soloists, Kirche St. Peter Zürich

radio programs SRF 2 Kultur:
Musik unserer Zeit, Wednesday, 25.5.2022, 20:00, Musik und Architektur – Iannis Xenakis zum 100 Geburtstag, editor Cécile Olshausen
Musik unserer Zeit, Wednesday, 23.6.2021, 20:00, Nackte Wucht: Iannis Xenakis’ “Metastasis”, editor Moritz Weber

neo-profiles:
Iannis Xenakis, Arditti Quartet

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New Music nomads

Portrait Collegium Novum Zurich – Season 21/22 – starting October 30, 2021

Since summer 2019, cellist and musicologist Johannes Knapp is Collegium Novum Zürich’s new artistic director, focussing on new artistic perspectives as well as on broadening the audience for the ensemble. The previous season having to be downscaled due to pandemic reasons, now the first season curated by Knapp can finally take off. Thomas Meyer spoke to him before the second concert, which took place on October 30, under the direction of Emilio Pomàrico in the newly restored main hall of Zurich’s “Tonhalle”.

 

Portrait Collegium Novum Zürich, Konzert Tonhalle Maag Zürich, zVg Collegium Novum Zürich ©François Volpe

Thomas Meyer
New music may not be so young anymore, but it always knows how to rejuvenate itself. This becomes clear when two works written half a century apart, a classic and a newcomer, meet in the 3rd concert of Johannes Knapp’s Collegium Novum Zürich’s (CNZ) season on December 18. Éclat-Multiples will be performed together with (Re)incarnation [Yerlik]: a central work by Pierre Boulez from 1970, next to that of a 34-year-old composer whose name not many are likely to know: Kazakh Sanzhar Baiterekov who based this work on the processes of an old Tengrist myth from his homeland, dealing with the underworld and rebirth.  

Such encounters have a long tradition at the CNZ. Since its founding in 1993, it has pursued on one hand the performance of important contemporary works, which set standards and are important for the musicians’ education, but also for the audience. CNZ has so established an important role in Zurich’s musical life and some of the musicians are part of the collegium since its foundation.  

On the other hand, the ensemble is in quest of the young, the unknown, the challenge and the opening. Cellist and musicologist Johannes Knapp is also on the lookout for “music announcing and embodying of what tomorrow will bring”. He took over the artistic direction and management two years ago, but his first season had to be reduced due to corona.

 

Portrait Johannes Knapp ©Alessandra Carosi

 

Only four concerts and in front of small audiences could take place. Therefore, some performances were streamed for Idagio. In addition, the ensemble tackled three CD projects to be completed this year, one with music by Boulez and one featuring Swiss composer William Blank, as well as a series of student-teacher double portraits such as Heinz Holliger/Sándor Veress or Klaus Huber/Willy Burkhard. That’s also why Huber’s “Remember Golgotha” opened the new season.

 


Klaus Huber, Psalm of Christ, Collegium Novum Zürich, Bariton: Robert Koller, conductor Heinz Holliger, Tonhalle Zürich, in house production SRG/SSR 2015

 

Myths and legends
 

This time the focus will be on myths and legends in contemporary music, which is more to be seen as a stimulating starting idea than an ongoing motto. According to Knapp, myths have a deep connection to music because they transcend logic and words and cannot be clearly fixed. They are attempts to deal with the uncertain, even the horror.  

Therefor several famous myths will appear in the programme: Orpheus in Orpheus falling by Sarah Nemtsov, the creation myth (Day 6) in Eufaunique by Stefano Gervasoni, the Egyptian sun god Ra in Sortie vers la lumière du jour by Gérard Grisey and Cathy van Eck, who teaches in Bern, will transform the Tonhalle into a “forest through which the wind blows” for Daphne’s myth in her new performance.

 


Gérard Grisey: Sortie vers la lumière du jour (1978), Ensemble Phoenix Basel, Leitung Jürg Henneberger, in house production SRG/SSR, Gare du Nord Basel 2016

 

Finally, the season will end with animal legends by Igor Stravinsky (Renard), Ruth Crawford Seeger or Frank Zappa, who was strongly influenced by Edgard Varèse and Stravinsky in his early days.  

 

Encounter with baroque instruments
 

Such programs also question the absolutist dogmas of new music. Why should new music always have to “sound” “new”? Can it not overcome historical boundaries? Questions like these led to an encounter with baroque instruments, specifically with La Scintilla, the early music ensemble of Zurich’s Opera, with French composer Philippe Schoeller presenting his new work Kátoptron which revisits the ancient myth of Echo and Narcissus.  

This is how Collegium Novum Zurich travels down the road. “Crazy nomads of Zurich” is how somebody once wittingly phrased the acronym CNZ, as the ensemble has no fix venue and is always looking for new ones, i.e. the Grossmünster’s crypt this year. As Knapp notes in his season editorial: “Travelling as an exploration of soundscapes by ear. Art means never arriving.”
Thomas Meyer

 

Pierre Boulez, Sanzhar Baiterekov, Sarah Nemtsov, Stefano Gervasoni, Gérard Grisey, Frank Zappa, Igor Strawinsky, Ruth Crawford Seeger, Edgar Varèse, La Scintilla, Philippe Schoeller, Emilio Pomàrico, Christoph Delz, Dahae Boo, Kelley Sheehan, Michael Wendeberg

 

Portrait Collegium Novum Zürich @Tonhalle Maag Zürich, zVg Collegium Novum Zürich ©François Volpe

 

upcoming concerts CNZ:
Grosse Tonhalle Zürich, 30.10.21: And falls into the Netherworld, Dirigent: Emilio Pomàrico, Werke von Sarah Nemtsov, Aureliano Cattaneo, Rebecca Saunders, Stefano Gervasoni
Grosse Tonhalle Zürich, 4.12.21: Konzert 3, Dirigent: Johannes Schöllhorn, Stefan Wirth Klavier; Werke von Kelley Sheehan, Tobias Krebs, Dahae Boo, Christoph Delz

broadcasts SRF 2 Kultur:
Neue Musik im Konzert, 1.12.21: Konzert CNZ, Tonhalle Zürich, 30.10.21

neo-profiles:
Collegium Novum Zürich, William Blank, Heinz Holliger, Sandor Veress, Klaus Huber, Willy Burkhard, Cathy van Eck, Gare du Nord, Ensemble Phoenix Basel, Rebecca Saunders, Tobias Krebs

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tuns contemporans 2021 – Graubünden meets the world

In 2019, two of Graubünden’s professional orchestras, Ensemble ö! and Kammerphilharmonie Graubünden, already co-initiated Graubünden’s Biennale for New Music – tuns Contemporans.  

Its second edition focuses on female composers on one hand and on local music creation on the other. Three pieces out of a “call for scores” for ladies only will be premiered and the Biennale also commissioned works to three generations of Graubünden composers.   

Slogan is: Graubünden meets the world, the familiar meets the unfamiliar, the new meets the even newer.  

Kammerphilharmonie Graubünden ©zVg Kammerphilharmonie Graubünden

 

Gabrielle Weber
The Chur Biennale for Contemporary Music tuns contemporans has had a somewhat difficult start into its second edition. In September 2020, it launched a Call for Scores for ladies only and at that time, the near future seemed a bit brighter as one could hope that live concerts might have taken place again the following spring.   

Now, in the midst of the third pandemic wave and with no prospect of live concerts in front of an audience any time soon, it was eventually decided to hold the Biennale anyway. Like so many other festivals, it will take place without an audience on site, but broadcasting live via online stream.  

A blessing in disguise as a variety of new works will be made available in and from Chur, all over the world, during four concerts between April 9 and April 11. 

The Biennale was initiated by David Sontòn Caflisch, artistic director of the Ensemble ö! together with the Kammerphilharmonie Graubünden.  

 

David Sonton Caflisch ©zVg David Sonton Caflisch

 

In addition to his ensemble ö! engagement, Sontòn Caflisch is active as violinist in various contemporary music formations as well as a composer. The Chur-based ensemble ö! regularly premieres works by up-and-coming composers, but also specifically by Graubünden musicians. In addition to Chur, it performs in Zurich, Basel and international guest performances. 

 

Stefanie Haensler, Im Begriffe for Quintet, world creation ensemble ö! 2016, Video in house produktion SRG/SSR, Launch neo.mx3 & Ensemble ö!, Postremise Chur, 11.Oktober 2020.

 

Call for scores – for ladies only!

The submitted scores were judged by a jury consisting of renowned contemporary music connoisseurs:   

The two women Asia Ahmetjanova, Ensemble ö!’s pianist and composer, and Karolina Öhman, solo cellist and member of Ensemble Mondrian, among others. Joined by Philippe Bach, Kammerphilharmonie Graubünden’s and tuns contemporans’ artistic director, Baldur Brönnimann, guest conductor at tuns contemporans and artistic director of the Basel Sinfonietta, as well as Sontòn Caflisch.   

Of 124 submitted works, the following three pieces were selected for a world premiere: Fragmente einer Erinnerung (Fragments of a Memory) for small ensemble by Elnaz Seyedi (Tehran), Still Images by Vera Ivanova (Moscow) for large ensemble and Accord by Katrin Klose (Germany) for chamber orchestra. They will be separately premiered during one of the Biennale concerts. 

 

Katrin Klose: winner Call for Scores / Kat. Kammerorchester, world creation Accord with Kammerphilharmonie Graubünden, opening concert Theater Chur, friday, 9.4.21, 19h.

 

tuns contemporans will also offer an insight into four generations of Graubünden musicianship, as commissions for three new works by Sontòn Caflischs, Martin Derungs and Duri Collenberg have been awarded. While the Sunday matinée will stage songs and a cello solo by Benedikt Dolf (1918 -1985).    

 


Benedikt Dolf, Concertino für Streichorchester 2008, Eigenproduktion SRG/SSR

 

The Kammerphilharmonie Graubünden has always been committed to local music-making, both in Chur as well as in smaller concert venues of Graubünden’s valleys. With its commitment to tuns contemporans and Call for Scores, it is now setting an example for the orchestral repertoire’s renewal and for more gender diversity among the next generation of composers. 

The internationally renowned Finnish composer Magnus Lindbergh has been invited as composer in residence. He will be present during the entire Biennale and will have his works performed in each of the four concerts.   

The opening evening with the Kammerphilharmonie Graubünden at the Chur Theatre for instance will present his Violin Concerto from 2006, together with a world premiere by Sontòn Caflisch and the new piece by Katrin Kloss, winner of Call for Scores’ chamber orchestra category.    

 


David Sontòn Caflisch, Enceladus-Variationen 2019, in house production SRG/SSR

 

Apartment House after John Cage, tuns contemporans’ promising mediation project, had to be cancelled at short notice due to the pandemic. Cage’s groundbreaking work from 1976 was to become a plea for social diversity and collective art in Chur. In collaboration with a large number of local artists, the festival wanted to cover all of Theater Chur’s rooms as well as the outside area. Now it turned into a symbol for the current physical distancing measures. 

The Chur Theatre and the Bündner Kunstmuseum, from where all concerts will be streamed live are also involved in this festival, aiming to move contemporary music closer to everyday cultural life in Chur again, a resolution one would wish for in many a larger city.   

Tuns contemporans promise a dense and varied programme: Graubünden meets the world!
Gabrielle Weber

 

60 female composers from 30 different countries submitted 124 works in tuns contemporans’ Call for Scores. 84 of them in the category “small ensemble”, 22 for the “large ensemble” category and 18 in the “chamber orchestra”category. Three works were selected for a premiere in each category. All details regarding concerts and livestream details can be found on tuns contemporans’ homepage  

In October 2020, the RTR launch of neo.mx3 took place in the Postremise in Chur, featuring ensemble ö! during the short time in which live concerts were possible. The whole concert was recorded and filmed by RTR and is available on ensemble ö!’s neo.mx3 profile. 

 

tuns contemporans, Magnus Lindberg, Katrin Klose, Elnaz Seyedi, Vera Ivanova


Broadcasts SRF 2 Kultur:
Neue Musik im Konzert: Ein Fest der neuen Musik, final concert tuns contemporans 2019, editor Cécile Olshausen, 15.4.2020

neoblog, Ein Prost auf die Neue Musik!, post by Thomas Meyer, 27.9.2020

Musik unserer Zeit: ö! ensemble für neue Musik, editor Florian Hauser, 11.11.2020

Neo-profiles:
Ensemble ö!, Kammerphilharmonie Graubünden, David Sontòn Caflisch, Karolina Öhman, Asia Ahmetjanova, Basel Sinfonietta, Ensemble Phoenix Basel, Philippe Bach, Stefanie Haensler

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Language blending into music 

 Music and language are in many ways intertwined. This year’s Spring Conference in Darmstadt will explore this broad spectrum with lectures, panels and of course concerts, with performances by slam poet Nora Gomringer, soprano Sarah Maria Sun and ensemble proton bern.
Online streaming between April 7 and 10, 2021 

INMM 2021 Verflechtungen II © zVg INMM

Thomas Meyer
Darmstadt, the venerable city in Hesse steeped in tradition and considered to be the “centre of Art Nouveau”, is also of crucial importance for 20th century music. It is not only home to a Jazz Institute with the best-stocked archive in Europe, every two years during the summer, the famous Darmstadt Summer Courses for New Music take place there and renowned teachers meet, lecture and discuss with the next generation. Since its foundation in 1946, Darmstadt – together with Donaueschingen – is one of the most important places of discussion where aesthetic directions are set – and the city gave its name to the avant-garde school led by Pierre Boulez and Karlheinz Stockhausen.   

Somewhat less well known a spring conference was also launched at that time, also dealing with new music, artistic production and musicology, but above all with its transmission, especially in music education.   

The conference is organised by the ‘‘Institut für Neue Musik und Musikerziehung (Institute for New Music and Music Education)‘ (INMM). The association also offers composition courses for children and young people as part of the spring conferences and launched a research project called ‘Campus Neue Musik‘, which is supporting cooperative composition projects with school classes.  

 


INMM Trailer concert with Sarah Maria Sun, 9.4.21 ©INMM 2021

The conference has always been prepared and carried out by a collective board of artists, educators and academics, embodying the very idea of cooperation in its structure. As the INMM states on its homepage, it can be described as “forum of interdisciplinary dialogue between production, reproduction and reflection on innovative artistic concepts of the present and recent past and their transmission in music education.“.     

Brand-new topics as well as border areas   

Brand-new topics and border areas have always been up for discussion, in recent years for example on physicality, film/video or the clash of cultures. “We want to see how different things come together,” says musicologist Till Knipper, of the collective board. This year, the diverse interweavings of word and language with music are up for debate – an ancient, actually almost fundamental topic, but one that still holds a lot of potential and opening new areas in contemporary music, which will be the theme of this year’s conference. 

  

Annette Schmucki works with language: Skizze © zVg Annette Schmucki

 

The pandemic does not allow for live performances, so for the first time, everything will be done via the internet, according to a clever schedule in which one is not overfed with material. On the one hand, pre-produced contributions can be watched online, offering an artistic statement, on topics that will be the subject of lectures from 4 p.m. onwards and roundtable discussions from 6 p.m. onwards. The evening is reserved for performances and concerts.  

The combination of music and language offers a wide spectrum. Of course, more traditional ways of making and composing music will also occur, they are even the focus on the second day, but it might turn out not being so conventional after all, for example when slam poet Nora Gomringer interacts with Günter Baby Sommer, a drummer who has also performed with Günter Grass.  

 

Nora Gomringer and Günter Baby Sommer © zVg INMM 2021

On the first day, the interconnections are incorporated into the theatrical, while on the third day, the voice itself speaks (and sounds), precisely that very medium of conveyance that is as individual as it is resilient. The Voice belonging to the outstanding soprano Sarah Maria Sun for the occasion.   

She’ll be performing or singing new songs by Rolf Riehm and Thierry Tidrow, who adds a sublayer of emoticons to his Morgenstern settings.  

 


Rolf Riehm, excerpt from song cycle after Heine / Hölderin, Der Asra, Orpheus Euphrat Panzer, Hyperions Schicksalslied, Sarah Maria Sun, Jan Philip Schulze, UA INMM 2021

For Saturday, a swiss focused finale with “Transformationen“, a concert by ensemble proton bern, with no text, or at least not a conventional one, rather language is transformed into music, which is not a coincidence, as Switzerland has some special word-sound artists: Composers who transfer and transform language into mere sounds and achieve astonishing results.   

There are many mentors in the oldest generation, such as Heinz Holliger, Urs Peter Schneider or Roland Moser. It can even happen – as with Moser – that only a text’s punctuation is set into music.   

The younger generation followed them, developed further, brought in something new. Composer Annette Schmucki, for example, likes to start from word lists, analyse and penetrate them and let her music emerge from them on many different levels. Sometimes the text is simply spoken, sometimes language appears as musical notation, sometimes it shapes the structure of the music. “brotkunst… /54 pieces/farbstifte papier tabak“, for example, is based on texts by Adolf Wölfli. Wait and see what her new composition “drei möbelstücke” is about?  


Annette Schmucki, brotkunst / 54 stück / farbstifte papier tabak, world creation ensemble proton bern 2016

Daniel Ott, founder of the Rümlingen Festival, who directs Munich’s Biennale für Neues Musiktheater with his colleague Manos Tsangaris, has always been politically motivated as well. One of his first compositions, “molto semplicemente” for accordion solo was born against the background of the Basel chemical fire in 1986 and brought it up. The starting point of his “6/7 Gare du Sud”, is the unacceptable situations that migrants are confronted with at Chiasso’s train station, so everyday issues flow into the music. These are unusual transpositions, bringing new aspects of the linguistic material to light.   

The 2013 work “and then?”, for contrabforte (a newly developed type of contrabassoon) and ensemble, by Isabel Klaus will also be performed. It shows this composer’s love of the quirky, the somewhat outlandish, insistent and quietly playful cabaret.   

It is no longer an actual speech composition, as the conductor interferes with the music not only through gestures, but also by speaking and though some would like the music to be pure and textless, it is not always available in such puristic form…
Thomas Meyer   

Annette Schmucki Skizze © zVg Annette Schmucki

The 74th Spring Conference of the INMM – Verflechtungen II Musik und Sprache in der Gegenwart– will take place online from Wednesday, April 7 to Saturday, April 10 2021: all events are open and free of charge. 

The lectures by Christa Brüstle and Christian Grüny are already online: 

 

concerts:
thursday, 8.4., 20h: Betrommeltes Sprachvergnügen, Nora Gomringer and Günter Baby Sommer
friday, 9.4., 20h: Sarah Maria Sun, Kilian Herold, Jan-Philipp Schulze
saturday, 10.4., 20h: ensemble proton bern: works by Annette Schmucki, Isabel Klaus, Daniel Ott, Lauren Redhead

Nora Gomringer, Günter Baby Sommer, Rolf Riehm, Thierry Tidrow, Adolf Wölfli, Manos Tsangaris, Münchener Biennale für Neues Musiktheater, Christa Brüstle, Christian Grüny

neo-Profiles
Heinz Holliger, Urs Peter Schneider, Roland Moser, Annette Schmucki, Daniel Ott, Neue Musik Rümlingen, Isabel Klaus, Sarah Maria Sun, ensemble proton bern

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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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Open-mindedness and consistency

35 years ensemble für neue music zürich

Setting significant standards since three decades: the “ensemble für neue music zürich” was founded in 1985, when contemporary music was only just beginning to emerge – today it is facing particular challenges.
A review with perspective by Thomas Meyer.

ensemble für neue musik zürich

One must remember the musical situation in Zurich around 1980. The Conservatory still lived up to its name: a place of preservation, not at all focusing on creation as it is today. Premieres for instance were highly unappreciated at the Tonhalle. There were small concert series dedicated to new music, but no specialist ensemble for it. There was a lot to be done.

When the “Tage für Neue Musik” were first held in 1986, a young ensemble, simply called “ensemble für neue musik zürich” emerged. It had presented itself for the first time only one year earlier and gathered a handful of musicians who were looking for something new. The musicians supported young composers of their generation and their environment and who had a very broad concept of music. Everything started with a concert by the “Gruppo Musica Insieme di Cremona” during the Zurich Junifestwochen, with mezzo-soprano Cathy Berberian. “It was an eye-opener: I felt the urge to do something like that,” says flutist Hanspeter Frehner, who founded the ensemble with other young students and still leads it today. Together with the pianist Viktor Müller, he is the only member of the original line up.

Hanspeter Frehner Portrait

Two essential characteristics define the ensemble: open-mindedness and consistency. Their open-mindedness is reflected, for example, by the choice of presenting female composers’ programmes from very early on, commissioning works to Liza Lim or Noriko Hisada. Another characteristic is asking jazz musicians to compose – which launched, for example, the career of Dieter Ammann. They also dedicated themselves to the visual arts, as in their homages to the Zurich sculptor Hans Josephsohn or in their collaboration with the experimental artist Peter Regli.


Verwandtschaft, composer: Junghae Lee, UA Winterthur, Villa Sträuli  2019, ensemble für neue musik zürich

But above all, they pushed music theater to a new level: the ensemble’s instrumentation is based on Schönberg’s cabaret-like “Pierrot lunaire”: flute, clarinet, violin, cello and piano, complemented by percussion, similar to Peter Maxwell Davies’ “Fires of London”. With two short operas by Davies, the “ensemble” proved early on that it was possible to create grandiose musical theatre with a few, consistently applied means. Another experiment, together with director Herbert Wernicke, was a radical version of the “Merry Widow” – so bold that Léhar’s heirs promptly banned it. Since then, chamber operas have been a permanent feature of the programme. Next November, for example, the operetta “Neues vom Weltuntergang” by Dortmund composer Johannes Marks is on schedule.

Their consistency is reflected in the long collaboration among each other, but also with the composers. Noriko Hisada, from Japan, states for example, that “ensemble für neue music is one of those groups in which I have deep trust” and Sebastian Gottschick has been the ensemble’s guest conductor for a long time. These days, the “Hat Hut” record label (ezz-thetics) is releasing two new CDs with his “Notturni” as well as arrangements of Charles Ives songs. A remembrance of composer Franz Furrer-Münch, who died in 2010, is also planned for next autumn. This all shows that it’s not only a matter of featuring the big names of new music, but also about working, as well as promoting, from the base upwards…


Trailer ZUHÖAN, composition duo: Christoph Coburger / Sebastian Gottschick, UA 2015, ensemble für neue musik zürich

This is how the “ensemble” has been setting standards for some three and a half decades. Some time ago, the rumour started to circulate, that the musicians were gradually reaching retirement age. Actually, financial support from the city of Zurich will expire at the end of 2021, but Frehner says there are still a few ideas and projects beyond that. Moreover, he believes that it would be perfectly fine, if the regular city support were invested in the future, i.e. a young ensemble.

One has to consider the situation in Zurich today: New Music does not have a fixed venue such as the Gare du Nord in Basel and with the Walcheturm in Kaserneareal, at least one option for the independent scene is available. The Tage für Neue Musik are on the verge of a new conception, the orchestral concerts are not exactly bursting with innovations. Although creation is flourishing at the ZHdK and the city has a fixed chamber orchestra “Collegium Novum Zurich”, a new smaller ensemble would also require support and there is still a lot to be done.
Thomas Meyer

The concerts planned for May and June were cancelled due to the current Covid-19 restrictions and will be made up on the following dates:
Stöckli/Neumann/Ustwolskaja (instead of 16.5.20): 5.2.21
CD Taufe Ives/Gottschick (instead of 14.6.20): 12.12.20
Grüsse an Regli (instead of 28.6.20): 29.6.21

ensemble für neue musik zürich, Hat Hut, Sebastian Gottschick, Liza Lim, Franz Furrer-Münch, Dieter Ammann, Hans Josephsohn, Johannes Marks, Peter Regli

Neo-Profiles: ensemble für neue musik zürich, Dieter Ammann, Junghae Lee

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“creating something that moves people”

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

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

Brigitta Muntendorf, Room © Brigitta Muntendorf

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

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

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

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

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

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

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

What is special about the Impuls financing…?

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


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

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

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

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

What are the challenges of international cooperation? 

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

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

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

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

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

What do co-production projects achieve better than others?

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

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

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

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

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

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

Interview, Gabrielle Weber

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

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

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

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


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

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

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

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

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

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“Tausendsassa” of contemporary music

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

Heinz Holliger © Daniel Vass

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

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


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

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

The composing interpreter

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

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

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


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

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

Steffen Wick, Autobiography, UA 2020 Basel Sinfonietta

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

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

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

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

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

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

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

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

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

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

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

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

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“…play until we drop…”

 

Portrait Urs Peter Schneider ©Aart-Verlag

As part of the Focus Contemporary festival, Musikpodium Zurich is celebrating Urs Peter Schneider’s 80th birthday.
Tribute to a ‘one-of-a-kind’ by Thomas Meyer:

The 60s were a very exciting time for music, as forms dissolved and concepts, happenings, performances, aleatoric concepts and improvisation took the place of written works. While many soon returned to more traditional procedures, one group in Switzerland stubbornly devoted itself to this new openness: “Ensemble Neue Horizonte Bern”, founded in 1968 and still active to this day. “We will” – as one member of the ensemble once stated – “play until we drop”. Without this Ensemble there would probably be no Cage tradition as well as less conceptual music in Switzerland.

Ensemble Neue Horizonte Bern

Swiss Cage Tradition

Urs Peter Schneider has occupied the special position of “Spiritus rector” in this composers and interpreters collective since the beginning. Born in Bern, currently living and happily crafting his compositions, texts, structures and concepts in Biel, he celebrates his eightieth birthday this year.

For this special occasion, Musikpodium Zürich is organising a concert as part of the Focus Contemporary festival: Dominik Blum will perform piano pieces by Schneider, his Neue Horizonte colleague Peter Streiff and Hermann Meier, whose almost forgotten work Schneider has consistently stood up for. In addition to his 1977 “Chorbuch”, the choir “vokativ zürich” will perform the new work “Engelszungenreden” (angel tongues speeches), whose title indicates that Schneider’s music also likes to point up, towards more spiritual directions.


Hermann Meier, Klavierstück für Urs Peter Schneider, HMV 99, 1987

Composer/pianist/interpreter/performer/educator in one, Schneider is one of those ‘one-of-a-kind figures’, that are not uncommon in Switzerland. It is not easy to describe his music as it can be extremely varied and he often changes his procedures. Schneider likes to work with strategies, essentially following the serial techniques in which his music has its roots, often tinkering for a long time and thoroughly with permutation of tones, instruments, volumes etc. until they finally come together. For this purpose, he develops his own radical gestures of persistence.


Urs Peter Schneider, ‘Getrost, ein leiser Abschied’ für zwei Traversflöten und Bassblockflöte, 2015

Radical persistence gestures

But it goes even further, as Schneider applies such strategies not only to tones, but also to words, graphics and theatrical actions, actually to almost everything that surrounds his work, including dates, or credits. The concert programmes are also composed – another important quality of Neue Horizonte. “The components of a performance relate, complement and comment each other in a sophisticated way”. Likewise, when books or CDs are published, his pieces are never loosely assembled, Schneider rather creates a new constellation for the entire oeuvre, being a strategist obsessed with order.

Urs Peter Schneider: meridian-1-atemwende ©aart-verlag

Every element is twisted and turned, in an ongoing discovery and invention of new processes. He can actually be defined as a process composer and thus very close to conceptual music, a genre he dedicated 2016 his book “Konzeptuelle Musik – Eine kommentierte Anthologie” to, which can be considered an exemplary and indispensable compendium.

The spontaneity of these open forms probably also acts as a corrective to strictness. Sometimes the liveliness and flexibility could get lost in these procedures and order might turn out to bury these aspects. But that is precisely when surprising things often occur. For Schneider’s work contains wit, even cheerfulness, in sometimes unusual places, other times with soothing self-irony.
Thomas Meyer

Hermann Meier, Stück für grosses Orchester und drei Klaviere, 1964, HMV 60 ©Privatbesitz

The “Focus Contemporary Zürich” festival will take place from November 27, to December 1: Tonhalle Zürich, Collegium Novum Zürich, Zürcher Hochschule der Künste and Musikpodium Zürich will jointly present a selection between of experimental creations and works by renowned masters in five concerts at venues such as “Tonhalle Maag”, “ZKO-Haus” or “Musikclub Mehrspur” of the “Zürcher Hochschule der Künste”.

Focus Contemporary Zürich, 27. 11.- 1. 12, concerts:
27.11., 20h ZHdK, Musikklub Mehrspur: Y-Band: Werke von Matthieu Shlomowitz, Alexander Schubert
28.11., 19:30h Musikpodium Zürich, ZKO-Haus: Urs Peter Schneider zum Achtzigsten: Werke von Urs Peter Schneider, Hermann Meier, Peter Streiff
29.11., 19:30h Tonhalle Orchester, Tonhalle Maag: Heinz Holliger zum Achtzigsten: Werke von Heinz Holliger und Bernd Alois Zimmermann
30.11., 20h Collegium Novum Zürich, Tonhalle Maag: Werke von Sergej Newski (UA), Heinz Holliger, Isabel Mundry und Mark Andre
1. 12., 11h ZHdK, Studierende der ZHdK: Werke von Heinz Holliger, Mauro Hertig, Karin Wetzel, Micha Seidenberg, Stephanie Haensler

Musikpodium Zürich, Aart-Verlag

Neo-profiles: Zürcher Hochschule der Künste, Collegium Novum Zürich, Urs Peter Schneider, Hermann Meier, Heinz Holliger, Peter Streiff, Stephanie Haensler, Karin Wetzel, Gilles Grimaitre, Dominik Blum