It provides access to over 10,000 music institutions, statistical data, interactive maps, articles and in-depth analyses of musical life. Thematically, the miz covers all key areas - from music education and training to amateur music-making, professional music-making and the music industry.

Tutorials on music research and copyright support information seekers with specific questions in musical practice. Calendars of further training courses, conferences and advertised support measures bundle offers throughout Germany.

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Link: www.miz.org

Anette Weber has headed the opera division of the Zurich Opera House since the beginning of the current season. She was previously casting director at the Hamburg State Opera and the Semperoper Dresden.

The 22/23 season marks an artistic turning point at Ballett Zürich: ballet director Christian Spuck is entering his last season. His successor Cathy Marston is already presenting her first new production. A total of 14 choreographies - including five world premieres - will be presented in the four premieres and four revivals.

Schulz is moving from the Berlin State Opera Unter den Linden to Zurich. He previously worked at the Salzburg Festival and as Artistic Director and Commercial Director of the Mozarteum Foundation Salzburg. In 2015, he was appointed artistic director designate of the Berlin State Opera. In 2025, he will succeed Artistic Director Homoki at Zurich Opera House, who is leaving the post at his own request.

Antoine Gilliéron - The war that has been taking place in Ukraine since the end of February has touched the hearts of the HEMs of our country as well as questioning culture and training spaces in their universalist but also sometimes political vocations. How can we contribute to peace today, perhaps even more than in normal times, as tertiary music education institutions?

The eight high schools of music that make up CHEMS have taken a firm stand against the war in Ukraine (cf. Further information) and, while clearly distinguishing individuals from the political regime, adhere to measures aimed at cutting ties with artists representing the current Russian political power as well as to question or even interrupt the cooperation in force with the Russian universities and conservatories which publicly displayed their support for the war at the beginning of March, which is deeply incompatible with the values defended by the conference. Very attached to pacifism, to the rapprochement between peoples through music as well as to the principles of non-discrimination, solidarity and tolerance, the CHEMS affirms its desire to welcome Ukrainian artists fleeing their country but also musicians. Russians and Belarusians in its teaching and student body, even when these people are unable to publicly display their disapproval of the military invasion. Thus, it is crucial for the conference to emphasize the need to differentiate between individuals and regime, to highlight the freedom of art and research as well as the importance of maintaining the possibilities of travel and visas for all people with a nationality that is affected in one way or another by this war. The conference also takes a worried look at attempts to cancel culture and rejects with all its might attempts to suppress from the programs the masterpieces of Russian music which are also part of our exceptionally rich musical heritage.

Thus, from the history of music to the history of Russian instrumental schools, through the partnerships and historical relations that our schools have with Russia, Belarus and Ukraine, the reflection will allow us to take a broader view of the cultural relations that unite these countries with ours. In addition to this perspective, concrete initiatives are being taken to improve the situation in our schools and, to a greater extent, internationally. Whether it's concerts for peace, fundraising for charitable works or aid, the use of the soft power that culture represents, for example by showing its support for Ukraine through various communication channels, or mobilization to help students.es of our institutions (at the financial and psychological level) but also to welcome Ukrainian students.nes who have been released from the war in order to offer them continuity in their studies (including the Erasmus, Horizon Academic and Scholars at Risk systems), the Swiss music schools - in addition to sending a message of solidarity to the community affected by this war and of unity towards all and everyone - are making a major contribution to highlighting the need for art to contribute to the collective construction of peace.

Lucas Bennett - Brigitt Leibundgut was born on April 28, 1936. She attended elementary school and grammar school in Bern and graduated with a type B Matura in 1955. At the same time, she took piano lessons with Ellen Brenner in Bern. At the Bern Conservatory, she studied piano with Rosmarie Stucki, theory with Sándor Veress and pedagogy with Suzanne Egli. She obtained her teaching diploma in 1960. This was followed by further training with Louis Hiltbrand in Geneva, Hubert Harry in Lucerne and John Buttrick in Zurich. In 1973, she also completed a degree in early musical education and basic courses at the Zurich Conservatory.

Brigitt Leibundgut was a versatile music teacher; until 1973 she gave piano lessons for children and adults as part of the SMPV private lessons program; she then worked at the Küsnacht music school, of which she was the initiator and co-founder, as principal from 1973 to 1989 and founded the early musical education and primary school courses in 1973. She also worked as a piano teacher at the Hottingen cantonal school.

Brigitt Leibundgut has performed in concerts mainly as an accompanist and in chamber music formations, for example in a duo with violinist Brigitte Barandun.

In 1978 Brigitt Leibundgut, who had been an active member of the SMPV since obtaining her professional diploma in 1960, was elected to the board of the Zurich section of the SMPV, of which she was president from 1990 to 1999.

Brigitt Leibundgut continued her strong commitment to the SMPV on the Central Board, from 2004 as Vice President and from 2013 to 2014 as Central President. During her year as President, one of her main tasks was to initiate the discussion about the association's direction, which was widely discussed throughout the association and came to a (first) conclusion at the 2016 DM. The author, then Vice President of the SMPV, remembers with gratitude Brigitt's always prudent and, in the best sense of the word, balanced way of chairing meetings of the Board of Directors. As a representative of the SMPV, she also performed important functions in partner associations and organizations; she was a committee member of the Swiss Youth Music Competition, the Swiss Music Council and Youth & Music, where her main focus was on preparing the "Youth and Music" initiative (the so-called music initiative). As a member of the board of the former Schweizer Musikzeitung association, where she served as actuary for 13 years, she oversaw the challenging transition to a new sponsorship model for the SMZ.

For many years, the SMPV was also able to count on Brigitt Leibundgut's commitment to professional music education, which was in transition from the traditional SMPV studies to the Bologna-compatible professional studies of SAMP/Kalaidos. She was a member of the board of the Förderkreis der privaten musikalischen Berufsausbildung in der Schweiz, which campaigned for the preservation of private music studies in Switzerland and provided SAMP with valuable support. Brigitt Leib-undgut stepped down from the Board of Directors at the 2014 Delegates' Assembly and was appointed Honorary President by the Assembly. She remained active on the Board of Trustees of the Swiss Academy of Music and Music Education (SAMP), of which she was President from 2013 to 2019.

As an experienced examiner in vocational training, Brigitt was held in high esteem by everyone. Her curiosity and genuine interest in the development of the students, her calm and thoughtful way of expressing criticism during exams and her generally great goodwill towards the examinees will be fondly remembered.

Brigitt Leibundgut passed away after a long illness shortly before her 86th birthday surrounded by her family.

SMM - The Institute offers regularly updated risk assessments and recommendations. The political assessments of the situation in Germany and Switzerland differ. However, the analysis of the Fribourg team led by Claudia Spahn and Bernhard Richter is also helpful in this country. In the latest update from mid-March, it emphasizes that vaccination remains an important and central point in the fight against the coronavirus, as infection rates remain high. It also continues to recommend the established test methods for culture. They significantly minimize the risk of infection in samples if all participants (regardless of the date of their last vaccination or recovery) are tested on a daily basis.

The World Health Organization (WHO) emphasized the importance of the 3G Plus rule and the AHA rules in a statement on 11 January. 3G-Plus means that access is only permitted for fully vaccinated or recovered persons or persons with a negative PCR test. A negative rapid antigen test is not sufficient. The German AHA rule reminds people to keep their distance, take hygiene measures and wear face masks. If these are adhered to, the current state of knowledge suggests that active singing and making music is still possible despite the more contagious Omikron variant. To reduce the risk, the Fribourg Institute recommends a daily test for all participants in a rehearsal or concert event in addition to the 3-G rule until further notice, i.e. it suggests significantly more restrictive measures than Switzerland.

Since the end of February, amateur choirs in Germany have been allowed to perform without masks again. Nevertheless, the Institute recommends that all participants be tested before the start of the rehearsal/event, even when singing together (especially if the mask can be dispensed with), until further notice.

The team writes that many people are finding it difficult to reconnect with life before coronavirus, although numerous activities are once again permitted for vaccinated people despite high infection rates. Singing in particular has the label of being dangerous. This barrier must first be overcome. The fact that singing and making music are extremely positive and important for mental health must be re-established as the risk of coronavirus decreases. Encouraging children and young people to sing and make music is a particularly important task and an ethical responsibility.

According to the institute, the main transmission of viruses that cause respiratory infections generally occurs via aerosols that are produced when coughing and sneezing and are absorbed by the other person via the mucous membranes of the nose, mouth and deep respiratory tract when inhaled and possibly via the conjunctiva of the eye. According to simulations, if an infected person coughs up viruses, it can be assumed that the viruses will still be detectable in the air after several minutes and possibly hours, even if the infected person has already moved away. It is therefore still important to observe the social distancing rule when making music to protect against droplet infection.

However, contact transmission continues to play a role: Viruses can be transmitted from surfaces if they reach the hands by touching these contaminated surfaces and the hands then touch the face without being cleaned - provided the viruses have retained their infectious properties up to this point.

Musicians of all musical genres should "take strict care to avoid any contact with others in the event of non-specific symptoms such as fever plus respiratory symptoms (dry cough, catarrh) or more typical symptoms such as acute loss of olfactory and gustatory function until the infection has been ruled out by SARS-CoV-2 PCR testing of a swab". The newer omicron variant can manifest itself with milder symptoms, but is more contagious than the previously prevalent delta variant.

Link to the mentioned paper:

> www.mh-freiburg.de/service/covid-19/risikoeinschaetzung

Dominik Sackmann, Lukas Näf - Arnold Schönberg, whose biography ran from Vienna to Los Angeles, i.e. from East to West, was famous as a composition teacher. His best-known (and first) private pupils were Alban Berg and Anton Webern in Vienna. From 1925, a large circle of students formed around him at the Prussian Academy of Arts in Berlin. After emigrating, Schönberg was financially dependent on teaching opportunities in New York and especially in Los Angeles. For this reason, he mentored young composers with different backgrounds and goals in life until his death in 1951. Schönberg himself wrote in his Harmonielehre (1911) that he "learned it from his students". However, far too little is known about the details of his teaching: how did it take place, how did teacher and pupil communicate with each other, what part did the basic craftsmanship play, what did Schönberg value, how great was the influence of his own aesthetics on his pupils? Did Schönberg treat all his students equally? How did the students experience Schönberg as a teacher and how did they later process what they had learned? Answers to such questions can only be provided by studies of individual composers and their memories and musical works.

Iris Eggenschwiler (Zurich) will provide an insight into what has been researched to date about Schönberg's circle of students and the teaching practice of the "master". Completely contrasting composers who experienced Schönberg's teaching at different periods in Vienna or Berlin will be the focus of four portraits: Lukas Näf (Zurich) on the Swiss composer Erich Schmid (1907-2000), Christian Lemmerich (Würzburg) on the German composer Winfried Zillig (1905-1963), Ludwig Holtmeier (Freiburg i. Br.) on Norbert von Hannenheim (1898-1945) from Transylvania and Nina-Maria Wanek (Vienna) on Nikos Skalkottas (1904-1949) from Greece.

Schönberg undoubtedly came into contact with music from the Aegean region through Nikos Skalkottas. However, his early Viennese student Egon Wellesz (1885-1974), who from 1920 onwards founded the research branch of musical Byzantine studies with epoch-making first decipherments, gave him a view beyond the borders of Europe. In this sense, the circle around Schönberg cultivated relationships from West to East.

At the beginning, Nina-Maria Wanek (Vienna) will give an introduction to the special features and history of Byzantine chant. The Choralschola of the ZHdK under the direction of Stephan Klarer will then make the contrasting sound worlds of Byzantine and Gregorian liturgical chant audible live. The second part of the evening is dedicated to the theoretical and practical examination of the "Missa Graeca", a medieval compilation of Gregorian chants with Greek text.

Zurich, Friday, May 6, 2022, 18:00-21:30, Zurich University of the Arts (Toni-Areal), Pfingstweidstrasse 96, Room 7.K06, Concert Hall 2 (Organ Hall), Level 7

Byzantine chants - "Missa Graeca": Lectures by Nina-Maria Wanek (Vienna) and presentation of Western and Eastern chants with the Choralschola of the ZHdK (cond.: Stephan Klarer)

Zurich, Saturday, May 7, 2022, 9.30-16.00, Zurich University of the Arts (Toni-Areal), Pfingstweidstrasse 96, Room 3.K01, Level 3

Arnold Schönberg as a teacher: presentations by Iris Eggenschwiler (introduction) 9.30, Lukas Näf (Erich Schmid) 10.15, Ludwig Holtmeier (Norbert von Hannenheim) 11.15, Nina-Maria Wanek (Egon Wellesz and Nikos Skalkottas) 14.00, Christian Lemmerich (Winfried Zillig) 15.00.

Further information is available at:

> www.zhdk.ch/forschung/imr

Annette Kappeler and Xavier Pfarrer - If you ask him about his favorite music, he mentions Depuis le jour by Marc-Antoine Charpentier (interpretation by Montserrat Caballé) and Time waits for no one by Freddy Mercury. He describes himself as a passionate "power napper", Feldenkrais fan and loves dancing in clubs.

Fabio Dorizzi, what has changed in your life during the pandemic? What were the biggest challenges?

The pandemic was a turbulent time. Suddenly there was a lot of fear and sadness. Many people lost loved ones, relationships broke down, working relationships changed... But terms like "solidarity" and "slowing down" also became louder. I liked that. What's more, a dream came true for me during the pandemic when I was allowed to sing at the Zurich Opera.

Congratulations! How did this commitment come about?

I was approached by an agent. I then auditioned in Zurich and got the role. I am extremely grateful that I was able to have this experience and I soaked it all up like a sponge and learned a lot of new things. My next goal now is to get into an opera studio.

The stage seems to fascinate you. You sang the lead role in a school musical back in Year 3. Last year, the Zurich Opera House... What connects these two stages for you?

These are two important moments in my life. Both of them made me feel very intense and encouraged me on my path. I love being on stage! If you can still make people happy with it: Jackpot!

Are you able to finance your studies and your life with your artistic work, or do you also work in other areas?

I had part-time jobs during my studies and am supported by foundations and private individuals. At the moment I can't yet make a 100% living from singing. I will continue to pursue this goal and will not shy away from taking on part-time jobs. After all, you're no less of an artist just because you generate your income from other sources.

We agree on that. In addition, studying at Kalaidos is not subsidized. What are the advantages and disadvantages (apart from the study costs) of a university like Kalaidos, which places a strong emphasis on flexibility and student independence?

I appreciate the independence of Kalaidos in terms of time and location! But no rose without thorns: especially at the beginning of my studies, I had trouble structuring my everyday life. Today I'm glad that I learned this during my studies.

You mention the structuring of everyday study life as a key point. Nevertheless, there can always be stressful phases. You wrote a Matura thesis on mindfulness - do such techniques play a role in your artistic work?

Absolutely! For me, mindfulness is a basic requirement for all learning! But during my studies, I also learned that mindfulness alone is not enough. I believe that you shouldn't spend your life in "observer mode", but should always be allowed to lose yourself in life and in your own roles... The mixture makes you awake and alive.

You once said: "I already live from music today. My dream is to live from music in the future". What does this living from music mean to you today?

I believe that there is no human condition that cannot be captured in music. The reverse is just as true: if you allow yourself to be touched by music, you can feel your way into many "humanities". There's something very liberating about that, don't you think?

Heinrich Baumgartner - Five of the seven venues kicked off on Friday, March 4 at 9.30 a.m. in Arbon, Liestal, Neuchâtel, Winterthur and Zug. Geneva joined half an hour later and Lugano on Saturday, March 5. Auditions were held in parallel in several rooms at almost all venues. In cooperation with the local music schools, up to 19 auditions took place simultaneously. The huge event was concluded with the announcement of the results and consultations with the participants, separately for each instrument. These discussions took place for the last time on Sunday afternoon or early evening and were conducted by the four-member expert juries, expert juries for accordion, recorder, cello, bassoon, harp, horn, chamber music, clarinet, four-hand piano, double bass, music before 1750, oboe, organ, pan flute, transverse flute, saxophone, percussion, violin, viola and contemporary music. (The competition is held every two years for the various instruments).

It's unbelievable when you think about what it takes to pull off an event like this. At the weekend itself, you can only see the tip of the iceberg. The long preparatory work can only be guessed at.

However, this applies not only to the organization of the event, but also to the performers. The fruits of hours, weeks, even months of work with the instrument and several works are presented live here without a net or a false bottom. There is no correction button or reset button.

My impressions of this event are limited to a few excerpts. I heard harp performances in Arbon and saxophone performances in Zug. In both places, I perceived a less competitive atmosphere. The few audience members present - mainly music teachers and parents of performers - were welcomed into the bright, spacious rooms of the music school and the program was announced. The performers had enough time to set up. The regulations stipulate a reasonable program length for the individual performers. The jury was positioned in the audience in such a way that it was not perceived as a "wall" for the performers.

In any case, I didn't get the impression from any of the performers that they were running a gauntlet. The parts in which music was created predominated by far.

The standard was consistently high. The programs were varied. A jazzy piece was also included in the classical programs and was usually performed with even more commitment than the classical pieces.

It's easy to get hurt in a music competition. You always show a lot of yourself when making music and are correspondingly vulnerable. The director of the Winterthur Conservatory, Christian Ledermann, sums this up in his introductory words to the Entrada 2022 program in Winterthur: "Our aim is for all musicians to be able to present their skills in a positive atmosphere and in a calm, competent environment."

In the auditions I attended, this was completely successful. I was also amazed at how many of the participants sat with their colleagues in the audience, but also how many teachers attended the presentations of other students.

The Entrada competition, from the welcoming ceremony on the morning of March 4 to the closing of the music schools on Sunday evening, is in many ways just the tip of the iceberg. From my perspective as a listener, however, it was a particularly successful iceberg that provided the participants with many valuable experiences, encounters and impressions.

The classical category is by far the largest in the Swiss Youth Music Competition, but it is not the only one. From April 28 to May 1, 2022, some excellent performers will be heard again at the final in Zurich. The Come Together of the Jazz&Pop Competition will take place in Bern on April 9, and the live performances of the Composition Competition and the Free Space category will be held on April 29. Details of these events can be found on the competition homepage.

The conductor Erich Schmid probably needs no introduction to the older generation. As conductor of the Tonhalle Orchestra Zurich and the Beromünster Radio Orchestra, he held a central position in Swiss musical life for many years after the Second World War. And between 1968 and 1978, he was also increasingly active as a guest conductor with various English orchestras.

The fact that Schmid was also a prolific composer, at least in the 1930s, is probably less well known. A CD box set published by ZHdK-Records in 2013 offers a good introduction to the music of this busy composer (ZHdK-Records 30/2013). The pianist Christoph Keller recently published Erich Schmid's piano music in two volumes with Boosey & Hawkes/Bote & Bock.

Even the early Little music for piano from 1926 reveals a lot about Schmid's compositional potential. Two of the three short pieces are written with a great deal of youthful verve and mischief, while the middle piece (slow and expressive) reveals an astonishing lyrical talent. With the Three piano pieces from 1929, Schmid then ventured into free atonality.

"So I compose ... piano pieces that I can't play," he wrote to his friend Erich Itor Kahn. In fact, the three thoroughly fascinating sound sketches are not easy to realize pianistically; smaller hands will encounter great difficulties.

The following Six pieces for piano op. 6 are clearly influenced by Schmid's famous composition teacher Arnold Schönberg. On the one hand, it is admirable how confidently the 25-year-old pupil has already mastered the twelve-tone technique, but on the other hand, craftsmanship is very much to the fore. The composer does not escape certain stereotypes (such as his preference for descending phrases).

The 1941 Splitter show a completely different Schmid: a march, a waltz and a foxtrot contrast with song arrangements and an enchanting berceuse. "With their comparatively easy playability, the pieces are suitable as an introduction to a piano oeuvre that still awaits discovery in large parts", writes editor Christoph Keller rightly about these Splitter.

And anyone who wants to take a closer look at Erich Schmid and his work will be very well served by these two booklets. In addition to a detailed critical report, reviews of his works and facsimiles, they also contain a biography that is well worth reading.

Erich Schmid: Piano Works 1 and 2, edited by Christoph Keller, Works 1, BB 3545; Works 2, BB 3546; € 55.00 each; Boosey & Hawkes / Bote & Bock, Berlin (Schott, Mainz) 

Johann Sebastian Bach's chorales are not just objects of study or teaching pieces, but represent the unique combination of theology and music. Their function is prayer, reflection, commentary or confession. Even during Bach's lifetime, his chorales began to take on a life of their own and were collected. And when his music fell silent after his death, they preserved his memory for posterity.

The musicologist Thomas Daniel, a well-known Bach specialist, has published a new edition with Breitkopf & Härtel All chorale movements as an Urtext edition of all four-part chorales by Johann Sebastian Bach. For this purpose, the chorales were divided into two parts of roughly equal size: The chorales from the cantatas, motets and passions, which are certain to be by Bach, are found in the first part, while the second part contains chorales from later sources and prints. By drawing on new sources, the authentic chorales are for the first time clearly separated from the chorales with partly dubious authorship. In addition to an informative preface and a separate introduction to the edition for both parts, the edition also contains for the first time individual notes on each chorale, which are printed directly in the music section. In addition, there are helpful indexes with which the movements can be searched by text beginning, BWV number, melody composer and librettist.

A highly recommended new edition that no music cabinet should be without.

Johann Sebastian Bach: Sämtliche Choralsätze for four-part mixed choir, edited by Thomas Daniel, choral score, ChB 5377, € 24.90, Breitkopf & Härtel, Wiesbaden

Salome, Elektra, Zarathustra, Till Eulenspiegel ... When you think of Richard Strauss, you probably associate his name with operas, tone poems or his songs. But an original composition with recorder from 1883?

Strauss' youthful works are still largely unknown today. On the last page of the autograph score of this fantasy is a reference to the reason for its composition: "O don't let me sweat too long, for a Strauss is no pleasure. The above fantasia comp. and written by Richard Strauss for bassoon and cross trumpet was performed at the 1883 Order Festival by Weschitz and [illegible]." The order is the convivial Munich Harbni-Orden gegen den tierischen Ernst, for which Strauss had already written an occasional work the previous year.

The instrumentation in the autograph score is bassoon, mouth flute (in the single part: mouth flute) and guitar. According to research by Franz Trenner and Peter Thalheimer, Nikolaj Tarasov ultimately confirmed that Strauss meant a recorder instrument by mouth flute. A soprano recorder in c is recommended for today's practice. Although the score is marked "Guitarre", Strauss notated it as a piano part on two staves, but also arranged it for guitar for the present edition.

The Fantasy by the 19-year-old composer is based on the famous theme "Nel cor più non mi sento" from the opera La Molinara by Giovanni Paisiello and joins a dozen other compositions on the same theme by Beethoven, Sor, Hummel and Paganini, for example. After a short introduction and the theme divided between the two melody instruments, a variation for recorder and bassoon and a virtuoso finale follow. Strauss' compositional mischief is not only evident in the sudden singing note in the flute part. With this four-minute fantasy, the sparse original recorder literature of the 19th century has been expanded to include a cheerful work for an extremely appealing instrumentation.

Richard Strauss: Fantasy on a theme by Giovanni Paisiello, for soprano recorder, bassoon and guitar (piano), edited by Peter Thalheimer, first edition, EW 1129, € 14.80, Edition Walhall, Magdeburg

Back in 2015, Paolo Crivellaro, Professor of Organ at the Berlin University of the Arts, published his book The North German Organ School (Carus), which offers a comprehensive collection of annotated sources on the performance practice and instrumentation of this organ landscape. Now a comparable work is being published, focusing on the French Ecole classique.

After an initial overview of the repertoire, the sources and the liturgical context of the music from the beginning of the 17th to the middle of the 18th century, the specific instrument is described in detail before the characteristic mélanges of the French school are discussed on the basis of registration notes and illustrated with numerous quotations and musical examples. Chapters on the difficult question of inégalité, tempo, ornamentation and fingering supplement the wealth of information with those aspects of historically informed performance practice that are central to this extremely "codified" music, which requires a great deal of background knowledge. Crivellaro succeeds in shedding light on these topics in a clear presentation using annotated sources available in the original wording and in German translation, and briefly summarizes the current state of research; the extensive bibliography provides information and references for in-depth reading. Short portraits of the 25 most important composers (from Eustache du Caurroy to Claude-Bénigne Balbastre) and their works round off the book.

Since Crivellaro largely refrains from "evaluating" the sources or giving specific interpretative advice on individual works, his handbook does not exempt the reader from familiarizing himself with the music on the instrument, trying things out and literally "feeling his way" towards this tonal language, but it lays an excellent foundation for a stylistically adequate approach to this repertoire, which will certainly set standards and be of great benefit to non-French-speaking readers in particular - the book is also available in an English and an Italian translation.

Paolo Crivellaro: Organ & Interpretation - the French Ecole classique, 358 p., € 45.95, Blockwerk Editiones, 2021, ISBN 978-3-9821872-0-4

Louis François Dauprat (1781-1868) worked as an orchestral horn player and horn teacher in Paris and was one of the most important natural horn players of his time. He also composed numerous works, mostly for study purposes for his pupils, including six horn concertos and chamber music for horn and horn ensemble. His Sextet op. 10, in which each of the six horn players plays in different tunings, i.e. each with a different tuning bow, is probably of interest to music history. The rich collection of music for horn and wind chamber music in Edition Kunzelmann has received a welcome addition with the edition of the Sonata for Horn and Harp op. 3, lovingly supervised by Simon Scheiwiller.

Louis François Dauprat : Sonate pour cor et harpe op.3, edited by Simon Scheiwiller, GM-1962, Fr. 23.00, Edition Kunzelmann, Adliswil