All publishers want to make money from pieces that no pupil can ignore. Bach's two- and three-part inventions belong in every lesson on a keyboard instrument in order, as he himself wrote, "to acquire a cantabile way of playing and also to get a strong foretaste of composition". No wonder that Peters-Verlag, after years of income from the editions by Carl Czerny (1840) and Ludwig Landshoff (1933) and the facsimile of the original manuscript (1942), now wants to participate in the market success of this music again.

For Ulrich Bartels, a former employee of the Bach Institute in Göttingen, it was a simple matter to edit the Critical Report on the 1970 edition of the New Bach Edition, which was only completed by his colleagues in 2007, and - following the last restoration of the original source in 2003 - to reveal further traces of the working process within Bach's own manuscript. Little has changed in the actual music text as a result - for the most part it follows the layout and details of the Bach edition. Only the use of warning accidentals has been reduced, and in the three-part symphonies the middle part has been rearranged here and there to make it easier to read the music. This could be done even more consistently in order to finally obtain an optimal, scholarly and practically useful edition.

One more thing: even if the copies by Bach's pupils Gerber and Kayser are philologically regarded merely as secondary sources, a transcription of all their ornaments into the main text would be desirable in order to make it clear to today's pianists that such "essential ornaments" were part of the music even if there were even fewer of them (or none at all) in the notes.

Johann Sebastian Bach: 15 two-part inventions BWV 772-786, 15 three-part symphonies BWV 787-801, edited by Ulrich Bartels, EP 11422, € 14.95, Edition Peters, Leipzig etc. 2015

The re-edition of music that was already very carefully brought to print in the 18th century under the supervision of the composer may seem superfluous. Following several facsimile editions, the reprint (Jószef Gát, Schott 1969) after the French complete edition of 1933 and the widely used edition by Kenneth Gilbert (Heugel 1972), the French musicologist Denis Herlin has now published a further version of the Premier Livre by François Couperin Pièces de Clavecin (1713). For players, the changes in the musical text compared to earlier editions may be minimal, as the peculiarities of the original print, such as different slurs and the avoidance of leaf marks, have been retained here too. However, a closer look reveals that this edition is based on a completely new foundation: it has now been possible to distinguish 16 editions (instead of the previous 7) of the print between 1713 and 1745, and numerous corrections from a complete and careful copy made by a French cleric from 1742 onwards have also been included. And a look at a collective print of French harpsichord pieces, which preceded the first print of 1713, also suggested that an additional piece (the anonymous La Badine in A minor) and the earlier variant of La Diane to print. Even those who cannot make friends with the Bärenreiter publishing house's music graphics and find the modernization of the accidentals unnecessary will have to fall back on this meticulous new edition of these central works of the French harpsichord repertoire in the future.

François Couperin: Pièces de Clavecin, Premier livre (1713), Urtext edited by Denis Herlin, BA 10844, € 46.95, Bärenreiter, Kassel 2016

Finger exercises have been rather rare and sometimes unwelcome guests in piano lessons for some time now. This even applies to professional studies. The consequences can certainly be felt in the fact that the most elementary sequences such as scales and arpeggios are not immediately successful. It is therefore advisable to give this some basic thought.

Edition Schott has now published Charles Louis Hanon's The Virtuoso Pianist has reissued a 19th century classic. The 60 exercises contain a huge amount of five-finger training, scales, arpeggios, octaves and thirds and much more. At the end, a lot is promised: "When the student has worked through this entire volume, he will know the greatest difficulties of technique. But if he (...) wants to become a real virtuoso, he must play through this book from beginning to end every day for a certain period of time." Well, fortunately there are different ways to Rome ...

Of course, some of these exercises are quite useful as a warm-up and can also be helpful when mastering a technical task. From today's point of view, however, the stubborn adherence to unison passages is certainly questionable. The stronger fingers of one hand obscure the weaker fingers of the other in such a way that a truly balanced passagework is not clearly audible. (So it is better to practise each hand separately first!) On the other hand, many exercises lack precise instructions on posture and form of movement. Sometimes the instructions are also questionable: should octaves really only be played "with the help of the wrist"? And the suggested fingerings for chromatic thirds are hardly convincing.

So what to do instead? Those who want to study similar material, but in a much clearer format, might want to go to the Exercices préparatoires by Aloys Schmitt. Dust-dry, but quite efficient! For advanced users, we still recommend the 51 Exercises by Johannes Brahms, which not only keep the fingers busy, but also the mind. But be careful: Brahms himself warned of some unpleasant numbers!

Charles Louis Hanon: The Virtuoso Pianist. 60 exercises to achieve fluency, independence, power ..., newly revised edition after Alphonse Schotte, ED 22376, € 16.50, Schott, Mainz 2016

Original works for harp and piano are rare in today's concert repertoire. On their new double CD, Duo Praxedis present a whole bouquet of such pieces and had to visit many international libraries to find them. Pianist Praxedis Geneviève Hug and her mother, harpist Praxedis Hug-Rütti, present a considerable number of today's rather unknown composers on their latest production. Who still knows François-Adrien Boieldieu, Francçis-Joseph Dizi, Johann Baptist Krumpholz, Guillaume Gatayes, Daniel Steibel or Federigo Fiorillo? The best known is probably Johann Nepomuk Hummel - and his five Rondoletti act as links on the two CDs, each contrasting with the single- or multi-movement duet compositions of his contemporaries.

The concept works: The two interpreters can unfold their full stylistic agility here in a fresh environment. They outdo each other in their sparkling, unpretentious joy of playing. Which is no contradiction to their extremely detailed precision. So one is reliably amazed and revels in the unspent freshness that emerges from the esprit of early classical melodies in such a multifaceted way.

The superficial "simplicity" of early classical expressive aesthetics comes across here as a great richness - precisely because both interpreters draw so much passion and honesty from it. Praxedis Hug-Rütti's harp develops filigree and finely ramified garlands of notes, while Praxedis Geneviève Hug's vital piano touch provides lively propulsion. The music is at times song-like and cheerful, for long stretches also lively and fast-paced, then again delicately melancholic. These musical dialogs are harmony and never confrontation.

Manifold melodic strokes of genius, humorous punchlines and a great deal of grace - all this flowed from the pens of the composers of the time. This music should be communicative togetherness and never self-expression. The Duo Praxedis has grasped this principle intuitively - and creates light-flooded, addictive moments! The outstanding sonic transparency of this production also convincingly rounds off the maturity of this exceptional duo.

Over four days, discussions took place in panels, votes were cast in forums and networking meetings were held. Showcases brought new music projects from classical, indie, crossover and other music fields to the stage and to the agencies.
What is the future viability of the sector? Which trends should we not miss out on? How can the audience of tomorrow and the day after tomorrow be identified, addressed and involved? Is streaming all the rage? Is there a future for music journalism? How diverse is the music sector in reality? What funding opportunities are there for European cooperation projects? These and many other topics were discussed by the participants.

The Swiss music scene was represented at the joint stand of the Fondation Suisa, an opportunity that could be used to a much greater extent, as the conditions are comparatively low and the support is extremely professional and friendly.

As in previous years, the vocal scene was again underrepresented, both in terms of promoters and the music projects presented. This is all the more surprising given that the vocal and choral music-making sector is a growth market. Nevertheless, a workshop was co-organized by the Tenso network (The European network for professional chamber choirs) ("Connecting People - Choral Music and More"), at which the remarkable vote was made: "Choral music is the symphony of the 21st century."

The next edition of the industry get-together will take place in Rotterdam from May 16 to 19, 2018.

Compared to the previous year, the increase amounted to 1.6 percent. According to Suisa, the good result is mainly due to higher revenues from the use of music on private radio and TV stations, from remuneration for private copying and from the online sector. Last year, Suisa received CHF 6.1 million for online music usage, 10.7% more than in the previous year (CHF 5.6 million). In 2016, income from streaming was higher than that from downloads for the first time.

Suisa (the abbreviation stands for "Suisse Auteurs") is increasingly taking direct cross-border action to protect rights in the online sector. By founding the joint venture Mint Digital Services with the US organization Sesac this year, it has taken a step towards better representing the interests of its members in the online sector. Mint has already acquired an important major client in the form of major publisher Warner/Chappell Music.

Last year, Suisa slightly reduced its cost deduction to 12.37%. This means that around 88 out of every 100 francs collected is distributed to authors and publishers. The annual result also testifies to "successful negotiations for tariffs and terms of use as well as reliable customers and business partners", Suisa continued.
 

The motion by the National Council's Committee for Transport and Telecommunications (KVF-N) specifically wants to delete Radio Swiss Pop, Radio Swiss Classic, Radio Swiss Jazz, Radio SRF Virus, Radio SRF Musikwelle and Radio RTS Option Musique.

According to the initiators of the petition, the special-interest channels in particular promote Swiss music to a high degree. The special-interest channels have a share of up to 50 percent of Swiss music played. Overall, the figure for all SRG stations is 20 percent. In addition, they are irreplaceable for Swiss artists with their coverage of the current Swiss music scene.

The petition is supported by, among others: Schweizer Musikrat / Musikschaffende Schweiz / Schweizer Musiksyndikat / Schweizer Tonkünstlerverein / Schweizerischer Musikerverband SMV / Helvetia Rockt / IndieSuisse / IFPI / Schweizer Interpretengenossenschaft SIG / Eidgenössische Jodlerverband EJV / Schweizerischer Blasmusikverband SBV / Schweizerische Chorvereinigung SCV / Verband Schweizer Volksmusik VSV.

More info: www.petitionen24.com/hande_weg_von_den_spartenradios

In 2016, the ZHdK's research institutes underwent an evaluation for the first time on behalf of the UAS Council. It was also given an excellent rating in an international comparison. A newly launched project now aims to further strengthen the link between research and teaching. Work is also underway to further develop the professorship model. The aim is to give professorships at the ZHdK a clearer profile.

In 2016, the ZHdK worked on 67 research projects and completed around a third of them. 40 percent of research expenditure, amounting to around CHF 10 million, was financed by third-party funds. Important contributors were the Swiss National Science Foundation SNSF, the Commission for Technology and Innovation CTI and private foundations.

The doctoral programs, which the ZHdK runs in cooperation with international partners, are also rated particularly positively in the reviews of the research units. During the project period from 2017 to 2020, the ZHdK is cooperating with the Stuttgart State Academy of Art and Design, the University of Reading and the University of Art and Design Linz. Another program will be carried out jointly with ETH and the University of Zurich.

The ZHdK is planning to establish and award an honorary title in recognition of outstanding achievements by individuals who have made a special contribution to the arts and design. The university's honorary doctorate, the Dr. h.c., will be replaced by the "Honorary Companion ZHdK". The first award is planned for the 2017 University Day in October.

A great opera story that is itself about opera and is based on true events (and rumors): On June 29, 1910, the conductor Dr. Aloys Obrist shot his former lover Anna Sutter and then himself in her apartment at Schubartstrasse 8 in Stuttgart. That morning, the singer had just been intimate with her new lover, the bass-baritone Albin Swoboda, when Obrist paid her a surprise visit. Swoboda hid in a cupboard. After Sutter had once again denied Obrist's protestations of love, the shots were fired. The case caused a sensation, as Sutter was the celebrated star of the Stuttgart Opera, for example as the Merry Widow, Salome and Carmen. And so the Swabian chronicle: "Frln. Sutter is lying in bed, her right arm spread wide and her left arm, which was wounded by the bullets, bent together. As in Carmenher leading role, she lay there." Ten thousand people attended the funeral, and Karl Donndorf's Fountain of Destiny in the palace gardens still commemorates the incident today. It was never forgotten in Stuttgart.

In 2001 there was an exhibition there; in the same year the novella Anna's mask from Alain Claude Sulzerand the opera of the same name by the St. Gallen-born composer is now also based on it David Philip Hefti. As Anna Sutter herself came from Wil, this new piece has, to a certain extent, double birthright in Wil. St. Gallen, where it was premiered on May 6 (further performances until June 3). Sulzer's libretto recounts the events leading up to the crime, Obrist's importunities, his dismissal from the theater, Sutter's flirtations and finally the crime itself - all in ten scenes, surrounded by a prologue and epilogue. The fact that Sutter's maid Pauline and police inspector Heid subsequently became a couple forms the framework.
 

Hefti's first opera, as he emphasizes, had to cover three times as much musical time as ever in a single composition; and he has done so skilfully, entertainingly and clearly. His music sounds transparent, is not hectic and does not waste its powder too early; on the contrary, it develops continuously over the ninety minutes towards the haunting conclusion. There is an instrumental epilogue that builds up once again, a "music of destiny", as Hefti calls it. This demonstrates his wealth of experience in dealing with the orchestral apparatus. Under the direction of Otto Tausk, the St. Gallen Symphony Orchestra once again intensifies its performance.

What Hefti does in the orchestra pit and how he uses the small choir not to act, but to reinforce the action as a static commentator, gives the piece a strong effect. He also skillfully uses the percussion elements to create moods, but also as a continuo for the singing. In the program booklet, Hefti explains how he grew more and more into the genre during his compositional work. "I think you can see that in the opera. The first part consists of large scenes in which the words carry a lot of weight and the plot is prepared. From about halfway through, the music is given more space, the sounds are allowed to expand and breathe."
 

This is the strength of the new piece, but at the same time it also points to its weaknesses. The vocals, the singing/declaiming, the recitar cantando, which should lead to an emotional tension from the language, remain too uncharacteristic. In this respect, the opera seems comparatively flat. One does take notice when Obrist (Daniel Brenna) soars into almost Puccini-like and kitschy cantilenas, one notices when a Carmen-But this seems too conceived, not penetrated and experienced. As clear and singable as the language is, too little happens beyond that. Maria Riccarda Wesseling is convincing as Anna Sutter, but I would have liked her to have a little more diva-like quality in her voice, for example. Ultimately, the piece remains too realistic or perhaps even too honest for long stretches, not sufficiently developing the conflicts, the creepy as well as the pathetic. Overall, it comes across as too dignified and sober (also in terms of the libretto), as if it doesn't want to touch on the essentials. A directorial trick copied from Thornton Wilder - not using props (such as flowers) but only hinting at them - points to this shortcoming. The multi-storey stage designed by director Mirella Weingarten appears cool in its geometry, but does not condense the situation - and the voices come across as similarly distant. This opera thus misses out on the operatic quality, the overwhelming "powerhouse of emotions" (Alexander Kluge) that the material so obviously contains.

Photo: Iko Freese (Theater St. Gallen)

Maria Riccarda Wesseling, Beate Vollack, Daniel Brenna

In 2016, HSLU-M had 136 teaching staff with a workload of more than 20 percent, 32 percent of whom were women. In addition, there were 34 assistants and academic staff and 33 people in administration and technology. 

In 2016, 7 research projects were running at HSLU-M, 3 of which were mainly funded by the CTI or the Swiss National Science Foundation. The number of projects has fallen sharply over the past 5 years. In 2012, there were still 25. At CHF 25.354 million, HSLU-M's costs in 2016 were slightly lower than the previous year (CHF 25.676 million).

The HSLU-M offers courses in classical music, jazz, church and folk music, music education and music and movement. Specializations are possible, for example, in new music, composition, improvisation, music theory, conducting/school music or chamber music.

Students can gain stage experience thanks to collaborations with the Lucerne Festival, the Lucerne Symphony Orchestra, the Lucerne Theater and the Jazzkantine Luzern. The Lucerne School of Music has an additional profile in the field of music education research and in answering research questions on performance practice.   

The location and reason for the project is the wall planned by President Donald Trump to be built between the USA and Mexico, which already exists in many places. The orchestra writes that the cancellation by the USA will prevent the planned cross-border collaboration between US artists, the Dresden Symphony Orchestra and Mexican musicians. The free concert on June 3 will now take place exclusively on the Mexican side.

The Dresden Symphony Orchestra is now calling on US artists, musicians and like-minded people in particular to take part in their own actions or flash mobs along the entire 3144 km border on the same day. The authorities' ban is limited exclusively to the concert by the Dresden Symphony Orchestra in Friendship Park/San Diego. Everyone is invited to take part and share videos of their own actions via a hashtag.

More info:
www.dresdner-sinfoniker.de/teardownthiswall-letter

This year, over 6000 schoolchildren are expected to attend the festival. Thanks to the support of the Fribourg Cantonal Bank, the school screenings will exceptionally be free of charge for the classes. To encourage attendance at the screenings, public transport costs have also been significantly reduced thanks to the partnership with the TPF.

Following the call for proposals launched in September 2016, the Culture & School project received around 60 proposals for its annual program from over 30 cultural event organizers, mainly from Fribourg. Of these, over 40 performances, concerts, workshops or guided tours have already been published in German and French on the program's web portal and are actively used by pupils at all HarmoS levels.

The offer is updated and expanded several times a year. School classes can take advantage of one cultural offer per school year at a reduced price.

More info: www.kulturundschule.ch
 

According to the study, the average campaign sums achieved vary greatly within the categories (between CHF 5700 in the "Dance, Theater" category and CHF 111,296 in the "Technology, Business, Start-up" category). The average amount of funding for a "Music, concerts, music festivals" campaign and a campaign in the "Sport, health" category was just under CHF 7,600. The figure for "Society, social projects" was CHF 9,200.

The authors of the study expect further growth in the crowdfunding market in 2017 with a volume of CHF 300 to 400 million. "Providers in the areas of real estate crowdinvesting, SME crowdlending and crowdlending for mortgages in particular will see an above-average increase in volume," says Dietrich. He also expects high growth in crowdfunding in the sports sector: "Clubs in particular are increasingly discovering crowdfunding as a source of financing, for example for new sports equipment, hall or pitch renovations."

Link to the study:
https://blog.hslu.ch/retailbanking/files/2017/05/Crowdfunding-Monitoring-2017_D_final_V3.pdf

The Rafale Trio has already won numerous international prizes. It made its debut at London's Wigmore Hall in 2014, at the Berlin Philharmonie in 2015/16 and at the Lucerne Festival in 2016. In 2016, it was also accepted into the Beethoven-Haus Bonn mentoring program.

His debut CD with works by Schumann and Ravel was released in 2012 on the monton label. A second with works by Vasks and Brahms followed in 2013 on Acousence. The CD "Early Works" was released this February by Coviello Classics.

This time, a total of 155 jurors of the German Record Critics' Award (PdSK e.V.) reviewed and evaluated the new releases of audio and video recordings of the last quarter in 32 categories. 256 titles were nominated for the longlist. 27 titles made the cut.