No music scene without clubs: a high-quality, innovative and ambitious live music program is crucial for the artistic development and repertoire of musicians. Clubs with live music facilitate encounters and direct exchange with the audience and thus take on an important socio-cultural function. However, clubs that work with up-and-coming artists in particular are increasingly struggling to survive due to noise complaints, strict regulations imposed by the authorities and commercial competitors without a live program. "Cheers!" supports live music clubs financially, but the award also helps to raise awareness of the clubs' concerns in the municipalities and cantons. The focus of the funding is on music clubs with a culturally outstanding live music program and a high proportion of national bands and up-and-coming artists. The high response to the first call for entries last year, with 63 Swiss clubs taking part, underlines the relevance of the funding scheme.

Swiss clubs can apply in two categories (small up to 400 and medium-sized up to 1200 visitors), which operate for at least nine months a year and where live music plays a significant, identity-forming role. The focus should be on pop/rock/electronica. The program should include a significant proportion of Swiss bands. The content and financial responsibility lies with the club.

Deadline for applications: August 21, 2018

Guidelines and registration documents at:
www.migros-kulturprozent.ch/de/foerderantrag/foerderbeitraege/popmusik
 

The leading cooperative Künstlerhaus in Givisiez would like to convert buildings in Givisiez that it was able to acquire in 2016 with the support of Loterie Romande and private foundations. The aim of this facility is to create a multidisciplinary creative center for artists in the canton of Fribourg, offering workspaces at moderate rents.

The artists' space created in this way will also be open for cultural events. Such structures, which have already been created in other places in Switzerland and abroad, have had a very positive impact on artistic creation and cultural development, the canton writes further.

The funding is granted subject to the usual proviso that the 2019 budget is approved by the Grand Council. It will be financed from the investment budget of the Office of Culture.
 

In the 2019/20 season, the Musikkollegium Winterthur is organizing an international composition competition for the first time in its history. Under the title "Rychenberg Competition - International Composition Contest", the Musikkollegium Winterthur intends to address composers of all ages from all countries. Interested parties may register until July 31, 2018 and submit their compositions by the end of March 2019. The compositions must relate to one of the three photo series selected and made available by the Fotomuseum Winterthur for this purpose.

The competition jury includes the composers Alfred Zimmerlin, Bettina Skrzypczak and Martin Wettstein as well as the musicologist Roman Brotbeck and the conductor and principal trumpeter of the Musikkollegium Winterthur Pierre-Alain Monot. From the orchestral works submitted, the jury will select ten works for the first round, which the Musikkollegium Winterthur will record on video. These video recordings will be published online in October 2019 and the public will be invited to vote online for one of the works to receive the Audience Award. Four further prizes will be awarded by the jury.

The Rychenberg Competition aims to promote contemporary music and continue a tradition that began in the first half of the 20th century. Under the aegis of music patron Werner Reinhart, Winterthur became a center of contemporary music with international appeal. Composers such as Anton Webern, Arnold Schönberg, Igor Stravinsky and Richard Strauss composed for and performed with the Musikkollegium Winterthur. Not only composers, but also world-renowned performers and conductors came to Winterthur at Reinhart's invitation and often stayed with him at the Villa Rychenberg, which is now the headquarters of the Musikkollegium Winterthur.

Further information and conditions of participation:

www.rychenbergcompetition.ch
 

The jury, consisting of representatives from the Canton of Lucerne, the City of Lucerne and the Regional Culture Conference RKK, assessed the applications received with the advice of experts. Representatives of the institutions Swiss Music Export and Rockförderverein Basel RFV were consulted as experts.

The "Other Music Lucerne" project by Marcel Bieri, Lucerne, convinced the jury in particular "due to the concretely formulated and meaningful measures for the promotion of Lucerne musicians, the broad and versatile network in the cantonal and national music scene, a planned independent association structure and the many years of experience and performance".

Marcel Bieri started out as a cultural organizer at the Braui Hochdorf cultural center and was a co-founder of the B-Sides association and the festival of the same name. Until summer 2017, he was jointly responsible for its overall coordination; since then, he has been responsible for artistic direction and networking.

The canton, city, RKK and Koechlin Foundation are supporting the establishment of the music education center during the three-year pilot phase with an annual contribution of CHF 60,000. This will be based on a service agreement with the canton, city and RKK.

Sometimes a work's rather unusual genesis can obstruct access to it - especially when it is invoked as a justification for its existence. Othmar Schoeck's opera Dürande Castle based on a story by Joseph von Eichendorff had long been relegated to the "don't touch me" drawers of music history. It was premiered in Nazi Berlin during the Second World War and was commissioned by the Nazis. Moreover, its libretto was written by the now completely unknown Hermann Burte, a blood-and-soil poet of little subtlety; it is full of clumsy metaphors and rhymes of a rather crude nature.

In order not to lose the music completely, a team led by Thomas Gartmann, head of the research department at Bern University of the Arts, has ventured a partial re-texting. In the run-up to the first concert performance of this arrangement by the author Francesco Micieli and conductor Mario Venzago, the media was therefore primarily confronted with questions about the historical position of the work and its re-performability.

It is therefore understandable that there was no small amount of must-be-scepticism and many other objections at the Bern City Theater: What is the point of such a project at a time when right-wing nationalist movements in Europe are on the rise again? Isn't this an attempt to wash the wrong play clean of suspicions of National Socialist appropriation at the wrong time? Couldn't these resources just as well be invested, for example, in a first staged production of the socially far more topical Magic Ring by the Ticino composer Francesco Hoch? And can it succeed in giving relevance to an opera whose musical language seemed to have fallen out of time when it was written?

After just a few bars, however, such themes seem far away. The Bern Symphony Orchestra conducted by Venzago, the Konzert Theater Bern choir and a whole host of excellent soloists (in smaller roles also from the ranks of the choir) fill the stage space far into the background. The music and story create a suggestive pull that is hard to resist, even without the scenic realization.

Micieli has replaced lousy lines from the libretto with passages from Eichendorff's works on the one hand and defused unsingable bumps with word changes and other retouching on the other. It is precisely the mixture of Eichendorff quotations, which replace politically or aesthetically unacceptable passages from the original libretto, and Burte's original lines, which seem strangely unwieldy in this context, that make this Dürande Castle into an enigmatic, intertwined work that is contradictory in its deeper dramatic layers.

What's more, the retouching also gives the story's conflicts, which have been chewed over countless times in the romance, a charm of their own. On the individual level: The brother believes he must restore the family's honor and kills his sister and her socially superior lover - caught up in a misjudgment about the sincerity of the count's feelings that is reminiscent of motifs from Greek tragedies. And on the intertwined social level: the destruction of Dürande Castle becomes a 19th-century topos of the conflicts between revolutionary movements and aristocratic oligarchies - including the final suicide bombing.

The intention of the project may have been motivated by music history. The result, however, is something else: it is somewhat reminiscent of postmodern methods of intertextuality, which have once again somewhat slipped away from topicality. The Eichendorff poem, for example, is interwoven into the new libretto In a cool bottom. In Germany when Hitler seized power, the Comedian Harmonists, banned from performing because of their "non-Aryan" members, made it extremely popular. Thus, external associations constantly seep into the new version.

The revised Dürande Castle can probably only be given its due if it is detached from the circumstances of its creation and reworking and perceived as an autonomous work of art. Ironically, the fact that the attempt at rehabilitation refers so intensively to the history of its creation could lead to it failing twice due to a misunderstanding: firstly, at the time of its premiere in an attempt to avoid appropriation; secondly, with regard to the new version, in an attempt to present it as a liberation from historical flaws. It will be interesting to see how the director Ansgar Haag will approach a planned staged version - it is to be realized at the Staatstheater Meiningen in 2019. Will the Dürande Castle will a corset of conventional music theater be laced there, thus emphasizing the moral-didactic impetus of the project, or will the breaks in the visual and theatrical language continue?

For 27 years, Daniel Fontana, the founder of the club, has been committed to providing an original, varied and challenging music program, supported by Patrick Boschung since 1998. With their annual program and the annual festival - the Bad Bonn Kilbi - they have made a name for themselves and earned a reputation that has made the municipality of Düdingen internationally renowned in the music scene and one of the most sought-after concert venues in the country.

According to the canton, Bad Bonn brings together "musicians from Switzerland and abroad who set new trends, as well as a broad audience from near and far and programmers from all over the world". For its particularly creative program in all musical genres, it has already received many awards in recent years (Gégé d'Or in 2005, Atec in 2009, Cheers from the Migros Culture Percentage and the Fondation Suisa in 2017).

The Fribourg State Prize for Culture was established in 1987 to "honor a person or a group of people who have distinguished themselves through their commitment in the field of culture or to reward a cultural worker for their overall work". The Culture Prize is awarded every two years by the State Council. In 2016, it went to the painter and artist Guy Oberson from Lentigny.

Individual instrumental and vocal lessons are no longer taught to a large extent by secondary school teachers, according to the Canton of Bern's announcement. The schools authorize the attendance of individual music lessons at a music school or with an independent music teacher. The outsourcing of music lessons does not generate any additional costs for the canton.

According to the Swiss Music Pedagogical Association (SMPV), Swiss high school students with music as their main subject take one lesson of instrumental lessons per week from the tenth to the twelfth school year as so-called "individual support". Normally, these lessons are given by a teacher from the grammar school. The grammar school can agree to the continuation of lessons with an external teacher. The music school then invoices the costs directly to the grammar school.
 

It goes without saying that the technical development of digital media is proceeding at breakneck speed. The legislative process, on the other hand, is slow.

When the Federal Council decided in 2011 in response to the Savary postulate that there was no need for legal measures against illegal downloading of music on the internet, it was met with a storm of indignation from the music industry. This led to the establishment of the working group AGUR 12 I and - after an intensive consultation process - to the continuation of the exchange in AGUR II. This preliminary work ultimately resulted in the Proposal to revise the Copyright Actas it is now available.

In his presentation, Andreas Wegelin, Director General of Suisa, outlined the topics dealt with in the AGUR II and which of these were ultimately incorporated into the draft revision. He emphasized the most important points for music:

• Adjustment of the term of protection for related rights to the EU level (70 years instead of the previous 50 years)
• Stay-down obligation (hosting providers must ensure that illegally uploaded and then deleted content is not uploaded again).
• Data collection in the event of suspected illegal uploads (IP addresses may be investigated in this case so that legal action can be taken).
• Accelerated tariff procedures
• Electronic reporting of usage data to Suisa
• Extended collective license

Christoph Trummer, musician, co-president of Sonart and member of AGUR since 2012, emphasized that illegal downloading, which was the biggest problem for music creators back then, is now only a marginal problem. Network blocking, as desired by musicians, would not have stood a chance in this context.

He also referred to the Gambling Act, which is currently being put to the vote and which does indeed provide for network blocking. Nevertheless, it is important that this revision now goes through. The music sector would also support it if the "shared dissatisfaction" (a quote from Federal Councillor Sommaruga) that had been negotiated over a long period of time remained in place, i.e. if no more changes were made in either direction. - With the exception of a passage in Art. 13a and, analogously, in Art. 35a, where, as Andreas Wegelin had previously mentioned, a compromise that had already been reached had been removed from the draft due to the intervention of the administration. Trummer ended with the remark: "It would be a very bad sign if this compromise did not go through."

Even if piracy is no longer a major problem, the income situation of music creators has not improved. The current problem is streaming! Hardly anyone downloads music anymore, everyone is online all the time. The big providers such as Spotify, Apple Music and Deezer pay copyrights, but these are low compared to those from radio or television. Marlon MacNeill, Managing Director of IndieSuisse, the association of independent record labels, explained that the practice of YouTube, which pays a much lower rate, is particularly offensive. He spoke of the value gap, the gap in value creation, the disturbing fact that only a tiny proportion of the income from such platforms goes to the authors, most of it into their own pockets.

In the concluding discussion, Stefan Müller-Altermatt, National Councillor and President of the Parliamentary Group on Music (PGM), noted that the revision of the law was once again three steps too few. National Councillor Christa Markwalder pointed out that the legislation only applied to national borders anyway and that these tech giants could hardly be legally challenged. In view of this powerlessness, there was a palpable sense of gallows humour among parliamentarians and representatives of the music organizations.

Whether the Motion by Balthasar Glättli could improve this situation by proposing that platforms with more than 200,000 users in Switzerland should also have a registered office in Switzerland? In any case, the proposal will be discussed in the councils shortly.

With Matthias Aebischer, Christa Markwalder, Stefan Müller-Altermatt, Rosmarie Quadranti, Albert Vitali and Karl Vogler, a pleasing number of members of the Federal Assembly were represented at this meeting.

The multi-instrumentalist Ueli Mooser, one of the most experienced and versatile country musicians in Switzerland, published a book in 1989 that explained the theoretical foundations of country music in detail and in a practical way. Now he has reissued this legendary publication The instrumental folk music of Switzerland extensively revised, supplemented and updated.

"Fundamentals and music-making practice of country music: forms, models, examples and suggestions" is the subtitle - and it does not promise too much. On the one hand, the work provides a comprehensive theoretical overview of country music. Form, structure, melody, rhythm and harmonization are presented clearly and in detail and illustrated with the help of numerous music and sound examples. Accompaniment, bass line, arrangement and repetition practice are also covered. The book therefore offers a wealth of material for playing practice as well as suggestions for your own compositions. There are even tips on putting together bands, rehearsals, live performances and the choice of piece titles. It also provides an overview of the historical development of country music and the many different regional playing practices.300 pages long, Mooser's book is not a didactically prepared quick guide. In terms of terminology, it is clearly from the 20th century and is not quite up to date musically either. However, this can be forgiven, especially in the case of this topic, as Mooser summarizes almost the entire 20th century of country music and thus provides a broad and deep basis for further development in the 21st century.

Anyone who works their way through the book will be rewarded with an extremely competent, exciting and enjoyable insight into Ländler music. If you don't want to make the effort, you can browse through the book and linger over sound samples or sheet music to get a first impression of instrumental Swiss folk music.

The Gesellschaft für die Volksmusik in der Schweiz has published the newly revised work in digital form in collaboration with the Haus der Volksmusik and is making it freely available on the Internet.

Ueli Mooser: Die instrumentale Volksmusik der Schweiz - Grundlagen und Musizierpraxis der Ländlermusik: Formen, Modelle, Beispiele und Anregungen, 2nd updated and revised online edition, 2017

https://instrumentale.volksmusik.ch/

The author, Professor Emeritus of Early German at the University of Cologne and author of several organ guides, has set himself an extremely challenging task with this book. Writing a cultural history of an instrument that probably stands like no other in a field of tension that combines economic, sociological, religious-historical and denominational aspects as well as questions of craftsmanship, acoustics, architecture and composition is probably hardly possible without a certain amount of superficiality. It is therefore all the more surprising that a great many topics have found their way into this publication, or are at least briefly touched upon: After an introduction to the early days of the organ, the various national styles are described, organ building and its context are outlined using the example of some great names (Schnitger, Silbermann, Walcker, Cavaillé-Coll) or historical developments (organ in the "Third Reich"), some organists and their environment are described (from Francesco Landini in the 14th century to the "enfant terrible" Cameron Carpenter) and a brief picture of organ music in today's media is drawn.

It is undisputed that one can get a picture of the subject matter here in a short time and still enjoy a "palatable" read. However, as you read on, you are annoyed by the occasionally rather casual language (Bach's "brutally difficult" trio sonatas) and by more or less factual inaccuracies; for example, Haydn wrote not just "one" but 30 pieces for the flute clock, and Michael Praetorius hardly describes the disposition of the "Bach organ" (!) in the Thomaskirche Leipzig in 1619. On the other hand, the bibliography lists a whole series of more or less well-known works, but no citations are provided, nor are the origins of unsubstantiated theories, e.g. Michael Gotthard Fischer's authorship of the anonymous works long attributed to Bach. Eight little preludes and fugues. It's a shame, because Göttert's book, which is fluently written, avoids unnecessary technical jargon and is beautifully illustrated, certainly succeeds in arousing curiosity for further reading.

Conclusion: a book to be enjoyed with a little caution, which is probably more suitable for enthusiasts than for connoisseurs!

Karl-Heinz Göttert: The Organ - Cultural History of a Monumental Instrument, 408 p., € 34.95, Bärenreiter, Kassel 2017, ISBN 978-3-7618-2411-5

Just like the jetty made of piano keys on the cover of the magazine Bridge of Melodies Adrian Bucher's piano pieces lead us into finely woven piano sounds. The 14 pieces brought together here are stylistically multi-layered and colorful. Despite their proximity to popular music, I can clearly sense the author's classical-romantic roots and the high demands this places on a coherent piano composition. Harmonically and rhythmically very carefully crafted and notated in equal detail, I consider the pieces to be valuable literature for teaching, which should appeal directly to young people at intermediate level. For them, these pieces could help to build a bridge to the piano writing of the Romantics, both in terms of style and playing technique. We find wide-spread chordal accompaniments (sometimes spread over two hands) with beautiful bass lines, secondary voices and surprising melodic and harmonic twists. With the detailed fingerings, the precise indications for shaping the phrases as well as the tempo and dynamic progressions, Adrian Bucher wants to encourage conscious music-making and shaping, paying particular attention to the use of the pedal. On his website adrianbucher.net the pieces are available as mp3 files and can also be ordered there.

Bridge of Melodies, 14 stylistically versatile piano pieces for intermediate level, BUA 3901, Fr. 25.50, self-published 2016, www.adrianbucher.net

In Aarau, close to his home town of Brugg, he felt buried alive musically, having breathed the much more cosmopolitan, culturally rich air of distant Berlin for several years. Admittedly not only to his advantage, as Friedrich Theodor Fröhlich (1803-1836) was a highly intelligent, richly talented and well-read, but brooding, at times argumentative and above all overly sensitive young man. Although he met greats of his time such as Felix Mendelssohn in Berlin and even studied under his teacher Carl Friedrich Zelter, he remained a condescendingly mildly ridiculed outsider figure who turned every rejection and ignorance of his work and his person into bitter frustration, which consumed him throughout his life and ultimately drove him to suicide. His emotional excitability, his spirit hungry for beauty, formed the great thematic reservoir for a successful, expressive artistic development. However, a more stable basic constitution and more external support would have been needed to provide the necessary discipline and economic framework. Thus Fröhlich was a great talent, according to current knowledge even the most important of the early Romantic era in Switzerland, who failed far too early because of himself and his environment.

Despite his relatively short creative period, the full exploration of his oeuvre is still far from complete. It is thanks to an initiative of the International Fröhlich Society and the Amadeus publishing house in Winterthur that, among other things, the series of four string quartets he left behind, which are among his most ambitious and best creations, has been completed. Obeying the passionate, urgent impulse of his time, they exhibit a degree of originality that makes the absence of later works all the more painful. All the more so as Fröhlich's end came at a time when Beethoven's dominant contribution to the genre led to a paralysis of the string quartet, which only Robert Schumann was able to break through after Mendelssohn. First and foremost, Fröhlich's wonderful, glowing, sung themes, especially in the slow movements, should be mentioned, but also his formal experimentation, the risk of harmonically surprising twists and turns, the always captivating conversation between the instruments. It may be that he sometimes overstretches his music in terms of content, wants too much and thus loses intellectual coherence. But his original musicianship has long since made up for these shortcomings with audience-pleasing drama and narrative density, which can always be sure of the applause and attention of his listeners.

The G minor string quartet (three of the four quartets are in minor, by the way), published by Amadeus as always at the highest level, should help to give this Swiss composer, who is still considered an insider's tip, more recognition. Fröhlich's icons Bach, Beethoven and Mendelssohn are omnipresent here, blending under his creativity into the ultimately dominant genius of an original and not in the least epigonal master.

It begins unusually with a poignant, hymn-like theme with four wonderfully ornamented variations in the Andante, which show off all the instruments to their best advantage. The second movement is a rapid scherzo in the Beethovenian manner which, despite all the accentuations, manages to sound as cheerful as a waltz. The Largo cantabile devotes itself entirely to the intimate main theme and its modulation; the Allegro molto finally begins darkly and mysteriously and could have made for a brilliant finale in terms of thematic material. Fröhlich repeatedly dwells on somewhat short-winded dialogs, which slow down the emerging drive and prevent the great sweeping pull. Nevertheless, the music is absolutely worth listening to.

Friedrich Theodor Fröhlich: String Quartet in G minor, edited by Gerhard Müller, score and parts BP 2824, Fr. 62.00, Amadeus-Verlag, Winterthur 2018

The new edition of the Telemann fantasias for solo violin is just as beautifully presented as the Bärenreiter edition of 1964, but the editor has written a detailed preface. It gives lovers of these demanding but easier to play sonatas and suites than those by Johann Sebastian Bach valuable tips on how to perform them. Telemann himself distinguishes between two groups in his catalog: the first six - provided with fugues - are rather sonata da chiesaThe second six are "Galanterien", suites of serious and dance-like movements. The critical notes represent important improvements on older editions and provide insights into the deliberate shaping of individual passages: Since polyphony on the violin, due to the fact that we cannot use multiple (violin) bows, requires many decisions of abandonment and priority, the criticized details help us with the alignment of note stems to group upper, middle and lower parts. Even a missing bar is pointed out: In the Largo of the Fantasy VII If bar 5 has to be repeated as an echo, this results in the logical eight bars. The sections on dynamics, ornamentation and vibrato also provide helpful suggestions for performers.

Georg Philipp Telemann: 12 Fantasias for violin solo, TWV 40:14-25, edited by Bernhard Moosbauer, UT 50415, € 10.95, Wiener Urtext Edition, Schott/Universal Edition, Mainz/Vienna 2017

Born in Austria in 1957, Gernot Wolfgang is a musical border crosser. He first studied guitar and jazz composition in his home country and then film composition in the USA, where he has lived since 1997. In his works, he searches for "a synthesis between the rhythmic energy of jazz ... and the European serious music tradition".

The piano piece Route 33 was written in 2014 and has now been published by Doblinger. It is dedicated to the pianist Gloria Cheng, who also played the premiere. The composition is reminiscent of a "road trip", which is interrupted by several dream segments. The composer apparently only gave the work its title after it had been completed. Wolfgang counted the number of synthetic scales and came up with 33. "Route 66 ... Route 33 ... that could work ... but perhaps a little too clever," he admits to himself in the epilogue. Incidentally, his humor also shines through in the numerous playing instructions, such as "fermata optional" or "with a little mischief, a twinkle in the eye".

In an entertaining eight minutes, the music itself runs through various stages from dreamlike forlornness to hyperactivity, only to return to the beginning at the end. Of course, there are numerous jazz elements, especially in the rhythms that are thrown down with a light hand. But none of this is unnecessarily complicated, and even the fast passages and chords are comfortable to play. - In short: a compact, varied and entertaining piece of music!

P.S. Such a "Route 33" actually exists ...

Gernot Wolfgang: Route 33 for piano, D 01697, € 13.95, Doblinger, Vienna 2017

Instrumental technique exercises have a bad reputation - wrongly, in my opinion, because after all they create the necessary foundations and support the acquisition of difficult passages in the repertoire. Etudes for the saxophone are not available in great variety. There is a general lack of etudes for the development of finger skills that also have a musical expression at their core and pursue a compositional idea, as we know it from piano or violin schools, for example. It is therefore no wonder that many pieces from this collection have been transcribed for saxophone. And it is all the more gratifying when new ideas enrich the repertoire.

With his 15 technical studies inspired by minimal music, Christoph Enzel has shown courage for the simple idea of repetition and underpinned it spiritually. His musical mantras are a stimulus to free the process of practicing from its tediousness by helping the seemingly boring movement sequences to flow and making the sacredness of repetition resound far away from any mindless repetition mechanics. This is not so easily accessible to every student and requires pedagogical and methodical sensitivity on the part of the teacher, especially when the exercises in exposed positions pose a technical challenge. As the composer and saxophonist states in the foreword that difficulties in rehearsing a concerto are the starting point for this publication, teachers and pupils could follow this idea and compose their own mantras to suit their individual level. Have fun!

James Rae's booklets have been a permanent fixture in many teaching libraries for years - classical saxophonists in particular appreciate the wealth of pop and jazz-related teaching pieces. His production of countless publications may seem inflationary, as music teachers do not always have an innovative musical impetus with which to incorporate new aspects into their lessons.

Ultimately, however, it is probably the musical nature that is convincing - as in the 18 Concert Etudes for Solo Saxophone. Here, the joy of playing is the order of the day: they alternate between rhythmic, melodic and harmonic solo pieces, which are sure to be well received as performance pieces. Together with the 12 Modern Etudes (UE 18795) and the 20 Modern Studies (UE 18820) these etudes form a popular teaching register.

Christoph Enzel: Saxophone Mantras, 15 Technical Studies for Saxophone, ADV 7158, € 14.95, Advance Music, Mainz 2017

James Rae: 18 Concert Etudes for Solo Saxophone (S, A, T, Bb), UE 21705, € 16.95, Universal Edition, Vienna 2017