The book came about, as the author writes at the beginning, because she herself felt that her flute playing was too tense. She then began to study the processes in the body while playing. Angela Buer-Meinschien, who teaches flute and piano and has trained in eutony, focuses on body tension when making music, which can be either too strong or too weak, and the conscious use of the diaphragm. The first chapter, "Arriving", presents various exercises to loosen up, such as leg swings, arm swings and body tapping, as well as exercises from kinesiology, such as the cross-over exercise. In the second chapter, the author focuses on straightening up and ground contact in order to give flute playing a stable foundation. She also focuses on loosening the muscles of the neck, shoulders, face and throat.

The "Breathing" chapter begins with the stimulation of breathing through sniffing and sniffing and the pressure point exercise by the well-known breathing therapist Ilse Middendorf. This is followed by exercises to expand the inhalation capacity for abdominal, rib-flank and chest breathing and how these can be combined in a breathing cycle to achieve full breathing, as well as how to improve exhalation control. She describes the fundamental topic of breath support as the linking of diaphragmatic tension and full breathing and illustrates this with further exercises. At the end, the topics of "strong tone" and "lean tone" are briefly examined. In summary, the author offers various exercise programs for the "Tired Tone" and the "Restless Tone" as preparation for playing the flute.

The book provides a versatile overview of the various breathing exercises that can be used to strengthen body awareness while playing and balance tension. Which of the 60 exercises will benefit your own playing the most is something that everyone can try out for themselves.

Angela Buer-Meinschien, Get fit for playing the flute! 60 physical exercises for breathing technique, posture and relaxation, UE 36 389, 34 p., € 9.95, Universal Edition, Vienna 2015

A universal teaching aid, published by Ulrike Schimpf and Alexander Kowalsky at Edition Peters, promises to be "easy": five pieces that can be put together in a modular way and played in any instrumentation. The booklets for this concept are available for all band and orchestral instruments

The collection includes three well-known hits (La Bamba, Tequila and Get the Party Started by Pink) as well as a rap number composed by Kowalsky and a pure percussion piece with a choreography suggestion. All titles are characterized by strong grooves and have been broken down into individual patterns. These polyphonically notated building blocks are clearly presented for the players on a double page. There are melody parts, fills, breaks, bass patterns and improvisation aids for each song. In addition, the authors provide a one-bar body percussion pattern for each piece and a form scheme is printed at the bottom of each double page, which leaves space to enter the individual arrangement.

The enclosed CD contains an audio section with a complete demo version of each track in excellent and thrilling musical quality, a play-along version in a slower tempo and a pure accompaniment version with bass and drums. In addition, all patterns are stored individually as mp3 versions on a data section.

Hand signals are assigned to each module on the overview page. This allows the band leader to control the flow and form of the piece in rehearsal or in concert. The authors also provide four detailed playing suggestions on how the pieces can be presented.

Easy pattern impresses with its enormous versatility and openness of concept, which means that it can be adapted to almost any level and all possible instrumentations, and also with its clear presentation, the detailed and clear explanations and the excellently produced accompanying CD.

Ulrike Schimpf, Alexander Kowalsky, Easy pattern. 5 Hits for every instrumentation, EP 11377-1 to EP 11377-9, € 9.95 each, Edition Peters, Leipzig et al. 2015

In 1846, Georg Kastner created what was probably the first Méthode Complète et Raisonnée de Saxophone edited. This teaching work was dedicated to Adolphe Sax and was written just a few years after the invention of the instrument. In the Bibliothèque Royale in Paris, one gains an insight into a method which, like many 19th century instrumental schools, after introducing elementary music theory and performance practice, gives instructions on instrumental technique and describes the construction characteristics of the instrument. This is followed by the first exercises: "Les exercices doivent s'exécuter ad libitum, sous le rapport du mouvement, (...) il faut répéter plusieurs fois chaque exercice. L'attaque de chaque note doit s'effectuer par un coup de langue sec et soutenu toute la durée de la note." - These are the explanations for the exercises in C, which reach the range of two octaves with whole notes, half notes, quarter notes, eighth notes and sixteenth notes over several pages in intervals without alterations. Afterwards, what has been learned is consolidated in duet playing with the teacher and intonation is practiced. Between the progressive exercises and pieces of music from Kastner's pen, short, concise reminders are repeatedly inserted - on the whole, the method uses notation as a basis for teaching and does not neglect the music: "Choix de morceau facile de divers auteurs." Further challenges are offered by Marschner, Cimarosa, Mozart, Rossini, Auber, Bellini and, last but not least, the author himself in the "Variations faciles et brillantes".

Magic Saxophone is the name of Barbara Strack-Hanisch's new school. The versatile musician (flautist, saxophonist, instrumental teacher and musicologist) presents an impressive collection of exercises, playing instructions, tips, pieces of music, improvisation and composition ideas in her comprehensive teaching work, which is carefully and thoughtfully structured. The school comprises two volumes, one for alto saxophone and one for tenor saxophone. Volumes one and two supplement the topics covered in the chapters with folk tunes, songs from film and television, classical and romantic melodies by great masters and swinging moments from the pen of James Rae. The duets and solo pieces with simple piano accompaniment invite independent interpretation, as the author has deliberately refrained from using breath marks and dynamic markings.

Once again, looking at these saxophone schools raises questions: What do we want to teach in instrumental lessons today, how and why? Which materials seem important to us and which arouse the curiosity of children, young people and adult learners? What motivated a child around 1846, what means can we use to inspire our pupils today? Do historical instrumental schools still have any pedagogical relevance today? To what extent have contemporary publications outgrown this content?

In a world strongly characterized by individualism, a path tailored to the different students seems desirable to me. Modularity is the buzzword here - dividing a whole into individually tailored parts that can gradually be put together and exchanged or gradually interact at interfaces. In this way, teaching is based on an overall system which - similar to an instrumental school - is characterized in form and content by the teacher and their implemented musical tradition. Due to the modularity of the partially standardized elements, however, it meets the student in a truly magical way and can be co-determined by him.

Many roads lead to music. One thing is certain: the hike is more beautiful and more enjoyable when we are involved as self-determined learners. A hiking map is not a guarantee of experience for everyone, a saxophone school is not a reliable recipe for musical educational flights of fancy. A landslide cannot be ruled out either: A method carries with it the risk of being an end in itself instead of promoting the student in question. Whether Magic Saxophone really is - as Daniel Gauthier writes in the introduction - a school for children of our time, can only be answered by the pupils themselves.

Barbara Strack-Hanisch, Magic Saxophone, Alto Saxophone School, The playful introduction for children from the age of eight as well as teenagers and adults; Volume 1, UE 36001; Volume 2, UE 36003; each € 16.00 with CD, Universal Edition, Vienna

id., volume for alto saxophone; volume 1, UE 36002; volume 2, UE 36004; € 12.50 each

id., Tenor Saxophone School, UE 36421 and UE 36423; Playing Tape for Tenor Saxophone, UE 36422 and UE 36424

The present three volumes mark the end of the major project of a new, scholarly complete edition of Max Reger's organ works. The lesser-known series of works in particular conceal true gems, such as the spherical Hail Mary from op. 80 or the at times almost impressionistic Prelude in b from op. 129, which unfortunately often lead a shadowy existence alongside Reger's "great" classics, even though some of them would be technically accessible to advanced amateurs.

In addition to the beautiful volumes of sheet music with an exemplarily presented text, the accompanying DVDs provide an incredible wealth of additional information. On the one hand, drafts (if available), manuscripts, engraver's models, first editions and interesting later editions can be viewed, such as Karl Straube's "arrangements" of three pieces from op. 59 or various preludes and fugues from op. 65 and 80 (strangely, however, that the well-known Toccata and Fugue in d/D from op. 59 was not included in Straube's edition) or Reger's own arrangements of certain works for harmonium. Visualizations of the differences between the versions allow a detailed insight into the genesis of the works and reveal the editorial work. On the other hand (cf. Review of the volume with the chorale preludes) various other information on the works is available, contemporary reviews, Reger's correspondence, details of the organists at the premiere, etc. With this editorial practice, Carus is likely to set the standard for how a work and its context can be made "completely" accessible using the most modern technical means, aided by the fact that in Reger's case the relevant archival material is readily accessible. Fortunately, the publisher has also decided to publish the best-known works (including some chorale fantasias, the most frequently performed large-scale free works, but also chorale preludes and smaller pieces such as op. 59) in individual editions, making them accessible to performers who do not want to pay the very high price for the complete edition, which is justified in every respect by the content.

Max Reger: Works Edition; Volumes I/5-7, Organ Pieces I-III, CV 52.805-52.807, each volume incl. DVD, € 185-208, Carus, Stuttgart 2015

Max Reger: Works Edition; Volumes I/5-7, Organ Pieces I-III, CV 52.805-52.807, each volume incl. DVD, € 185-208, Carus, Stuttgart 2015

Discussion of the Reger biography by Susanne Popp.

Over the course of the 18th century, the guitar developed from a five-choir baroque instrument with two strings per "choir" to the six-string concert guitar with simple strings that we are still familiar with today. Unfortunately, however, hardly any music from this period has survived, especially from Spain, the actual motherland of the guitar. Between Gaspar Sanz and Fernando Sor, there are no Spanish guitar composers who are regularly played today.

German-born guitarist and musicologist Thomas Schmitt, who has been teaching in Spain for a quarter of a century, is helping to close this gap. In the volume Arte de tocar la guitarra española he introduces us to compositions by four musicians who were popular in Spain during their lifetime, but about whom we know very little today. These are Fernando Ferandiere, Juan Antonio de Vargas y Guzmán, Isidro de Laporta and Antonio Abreu. There is also a sonata by an anonymous composer who probably came from Latin America. (Conversely, some of the pieces by de Vargas y Guzmán were only printed in Mexico).

The twenty classical-style numbers are neither technically nor musically demanding. Some of them are a succession of clichés and more or less original ideas, and one or two harmonic
This twist may hinder the development of a larger musical arc. The pieces sound beautiful when played on a contemporary instrument with gut strings, as can be heard on Thomas Schmitt's YouTube contributions. If - contrary to Fernandiere's instructions to adhere strictly to the musical text - some late baroque interpretation and ornamentation practice is added, they become even more attractive.

Arte de tocar la guitarra española. Spanish guitar music of the 18th century, ed. by Thomas Schmitt, DM 1445, € 19.95, Doblinger, Vienna 2015

The course by Sabine and Hans-Günther Kölz relates to the standard bass accordion with piano keyboard. It is clearly divided into different levels, each of which deals with a specific topic. What is also striking are the specially designated areas: "Beatbox" for rhythm training, "Freetime" for improvisational suggestions, "Finger fitness" for technical exercises and "Music knowledge" for theory.

The first volume (there are two) is very "weighty" with over 100 pages. The staves are large, which I don't think is absolutely necessary in a textbook for this customer segment. I find it valuable that Level 1 tells us something about the history of the accordion. However, this is followed by a series of explanations on holding the accordion, playing style (handling), storage and care, notation and note values, time, time signatures and upbeat, rhythm, articulation, dynamics ... So we have a kind of reference book here. Most of the music theory aspects are superfluous at this point, as they are explained again in the exercises, pieces and songs that follow. The range of literature is very diverse, and even the simplest pieces sound very interesting thanks to the appealing accompaniment and partner parts. Notes on composers, musical forms, but also new themes are each presented very strikingly in a colored box. I find the notated counting instructions and the bellows markings superfluous. Counting does not ensure that the basic beat (pulse) or rhythm is felt. The importance of a good bellows division is undisputed, as is the fact that you need to know the corresponding signs. However, the sizes of accordions differ immensely, especially for young people and adults, and the air consumption of the instruments varies greatly, so that an exact division of the bellows paths in the course does not prove effective.

The enclosed CD contains all the pieces and the corresponding exercises. To my ears, the recordings sound clear, but too monotonous and synthetic (inclusion of electronic instruments). The textbook leaves enough room for your own compositions and provides interesting tips on improvisations, practice variations, transpositions, etc. The progressive structure in terms of range and rhythmic material is perfectly successful.

Sabine and Hans-Günther Kölz, Accordion playing - my most beautiful hobby. The modern accordion school for young people and adults, Volume 1, ED 20951, with CD, € 22.99, Schott, Mainz 2013

Viktor Ullmann (1898-1944) is one of those composers who were not only physically destroyed during the fatal years of the "Third Reich", but whose work was also banished from memory and musical life with frightening thoroughness. It was not until the end of the 20th century that there was enough interest for a real reappraisal. Works came to light and, even more so, to the stage which, due to their quality, can claim a permanent place in the repertoire today.

In Ullmann's small oeuvre, this applies in particular to his String Quartet op. 46, but even more so to his opera, which was written in the Theresienstadt concentration camp The Emperor of Atlantiswhich had to wait no less than 32 years for its premiere - although in the epilogue to the melody of Luther's chorale A strong castle is called for redemption: "Come death, our precious guest, / into our heart's chamber, / take from us life's sorrow and burden, / lead us to rest after pain and misery."

First published in 1992, this multi-layered work is now being presented in a newly revised edition by Schott-Verlag - and the fact that this is part of the Edition Eulenburg series can be seen as an accolade in the repertoire. The score, which is both stylistically flexible and dazzling in its instrumentation, is supplemented by an appendix with alternative versions, a critical report and a detailed preface.

Viktor Ullmann, Der Kaiser von Atlantis oder Die Tod-Verweigerung op. 49b (1943/44), play in one act by Peter Kien, edited by Henning Brauel; study score, ETP 8067, € 36.00; piano reduction, ED 8197, € 36.00; Eulenburg/Schott, Mainz 2015

Whether Rossini was a brilliant chef or not is debatable. What is certain is that when he retired from active operatic life at the age of 37 and spent his retirement with his hobby of "composing", he was also a passionate gourmet devoted to good food and loved managing his fortune. It is also undisputed that Gioachino Rossini, who came from a musical family, was one of the most important opera composers of the bel canto era. Born in 1792, he made his first appearance as a composer at the age of 20. In two decades, he wrote no fewer than 39 operas, later also sacred, vocal, piano and chamber music, including numerous songs.

La Cenerentola was already five years ago, Il Barbiere di Siviglia, an opera completed in just 26 days, six years (only later performances would bring these two works the fame they deserved), when Rossini performed a season of several of his operas at the Kärntnertortheater in Vienna in the spring of 1822. As a farewell to Vienna, he composed the Cavatina, which has now been republished by Edition Dohr Addio di Rossini, originally published under the title Addio ai Viennesi appeared. This farewell gift is a showpiece of Rossinian compositional art. It was reprinted several times in the first half of the 19th century; the present edition is based on the London version from 1824 and, although already recorded by Marilyn Horne and other Rossini mezzos, has not yet appeared in any modern edition.

You would do well to polish up your coloratura if you want to sing this Cavatina, a bravura piece with all the ingredients of true Rossini singing: great melodic beauty, rich coloratura, operatic sighs, the famous Rossini crescendo. An encore par excellence, to be mastered by soprano/tenor or high mezzo-soprano/baritone - but only with considerable virtuosity.

It is also interesting to compare it with the adaptation of this cavatina as a solfeggio by Rossini himself, published in the same issue. It appeared in 1827 in the Gorgheggi e Solfeggi We can confidently take the subtitle of this vocal collection, "per render la voce flessibile", literally, even though the solfeggio version is inferior to the original Cavatina in terms of virtuosity. The piano accompaniment is simplified, phrasing differs, this piece is intended as a practice piece and can even be used in singing lessons. The solfeggio is for vocalizing voice, although the vocalise in the present edition is underlaid with text.

Gioachino Rossini, Addio di Rossini, Cavatina for voice (mezzo-soprano or baritone) and pianoforte in two versions, score, E.D. 14209, € 12.80, Dohr, Cologne

The "Camphuysen" manuscript, an album by an anonymous Dutch dilettante from around 1650, was already edited in 1961 by the recently deceased Alan Curtis, but at that time without the nine intavolations of Genevan psalms, which are now included here. Not all of the pieces are really productive: seven of the twelve movements are simple harmonizations whose upper parts, however, are richly provided with trills and mordents, which is interesting in terms of performance practice. In this respect, they are welcome additions to the literature surrounding the Genevan Psalter. Musically, however, the most valuable is the secular addition, an anonymous three-verse arrangement of the English melody Daphne.

The four partitas by Georg Muffat, a first edition based on a manuscript (SA 4581) which is now back in Berlin, are a real gain for the repertoire. Recently, the keyboard works of this composer, who is so important for the performance practice of baroque ensemble music, have increasingly come to the fore. Compared to the partitas edited in 2003/04 from a Viennese manuscript (Bärenreiter BA 8419 and 8460), the music here is more pleasant and easier to read. The Partita in F major appears in both editions; however - as the editor inaccurately refers to - only five dances are shared, and both versions also contain three additional movements each as unique pieces.

How are publishers supposed to earn money after completing the complete editions of popular composers? Bärenreiter-Verlag is reissuing individual works from the New Bach Edition, albeit supplemented by fingerings by renowned performers. The German pianist Ragna Schirmer has chosen the Goldberg Variations to this task. Her entries largely guarantee a pianistically secure legato. It is strange that fingerings are sometimes missing where they are urgently needed. The assignments of the middle voices to one of the two systems by means of square brackets are mostly helpful. However, the publisher could have improved readability in these places if the notes had also been transferred to the appropriate system instead of just adopting the old edition. More valuable are Schirmer's "sopra" notes to indicate the mutual position of the intersecting and interlocking playing hands on the one-manual piano. Ultimately, however, I am surprised that even today a Bach work, harpsichordistic like no other, is published without commentary as a work for modern piano.

Neuf psaumes pour instruments à clavier suivis d'une page profane Daphne (après 1652), Extraits du Recueil de Camphuysen, CD 3099, Fr. 18.00, Editions Cantate Domino, Fleurier

Georg Muffat, Four Partitas for Harpsichord (D-Bsa SA 4581), first edition of the four unpublished partitas from the archive of the Sing-Akademie zu Berlin by Markus Eberhardt, EW 796, € 17.50, Edition Walhall, Magdeburg

Johann Sebastian Bach, Goldberg Variations, Fourth Part of the Clavier-Übung BWV 988, Urtext edited by Christoph Wolff, BA 10848, € 10.95, Bärenreiter, Kassel

Even the venerable Archiv Produktion label has fallen into the fashion of choosing images for its CD covers that have absolutely no connection to the musical content. On the first recording of a serenade by the Viennese court conductor Antonio Caldara, we admire the portrait of a masked young lady whose face and décolleté are covered with colorful butterflies. The work offers much that could fire the imagination of listeners and readers.

Caldara wrote La concordia de' pianeti 1723 as a congratulatory and homage gift for Empress Elisabeth, who was pregnant at the time. The genre name is to be taken literally: The serenade was first performed in the open air - a ciel sereno. Although the libretto has the usual sequence of recitatives and da capo arias, the differences to an opera are relevant. There are four choruses instead of the usual operatic tutti in the finale; instead of a progressive plot, the various gods of the Greek Olympus sing in rotation to the imperial mother-to-be. The arias of the gods are set to music according to their different personalities; Mars, for example, sings with trumpet accompaniment (No. 28, Da mia tromba). Without tension, without a story, the whole thing could become boring. However, the music remains quite varied, often with a dance-like, never melancholy character.

Above all, the baroque orchestra La Cetra under Andrea Marcon provides a glittering musical experience. La Cetra is an important part of Basel's musical life, especially the annual production at Theater Basel. The musicians are also highly regarded abroad; Caldara's Serenade was performed and recorded in Dortmund in January 2014. The orchestra's playing is outstanding: energetic, precise and a joy to listen to. The singers are able to remain at this level overall. The lightness and taste in the ornamentation of Carlos Mena (Mars), for example in his aria Non v'è bella che non creda (No. 12). The voice of Franco Fagioli (Apollo) is very impressive, but a somewhat clearer pronunciation would certainly not do any harm (No. 13, So ch'io dal suolo alzai).

The booklet provides all the information about the work and the composer that one could wish for when getting to know the work for the first time; the libretto is printed in four languages. Unfortunately, there is no room on the 52 pages for any pictures other than the faces of Antonio Caldara and Andrea Marcon.

Thomas Drescher holds a doctorate in musicology and has been working at the Schola Cantorum Basiliensis for 26 years, first as a member of the research department and since 1998 as deputy director. He has also worked for over twenty years as a freelance musician (ensemble singer/baroque violin/viola) in various early music ensembles and orchestras.

Founded in 1933, the Schola Cantorum Basiliensis is a training and research institute for early music. Since 2008, it has formed the FHNW University of Music together with the University of Music. It is therefore also part of the University of Applied Sciences and Arts Northwestern Switzerland (FHNW).
 

Subject to approval by the city council on April 21, 2016, the municipal council approved a commitment credit of CHF 2.425 million for the urgent maintenance work so that the necessary work can begin before summer 2017 as planned.

According to the city authorities, the Stadttheater Biel has not been extensively renovated since 1979. It has not been adapted to today's requirements in terms of design or technology. Due to the latent dangers and urgency, only a small part of the immediate measures regarding fire protection and personal safety were implemented in the summer and fall of 2014 to maintain performance operations in 2014/2015.

The stage and building services are also very outdated, and at least some of the electrical installations need to be replaced to ensure that operations can be maintained over the next few years.

As a publicly accessible building, the Stadttheater Biel is also to be adapted to meet current standards regarding accessibility. In addition to minor adjustments in the entrance area and in the disabled WC, additional wheelchair spaces must be created in the audience area. The orchestra pit must also have barrier-free access, which can be achieved by means of a ramp.

Marjan Gilani from Empa's "Applied Wood Research" department and other employees, including Geige builder Johanna Pflaum, examined twenty wood samples for their sound behavior and coated them with selected varnishes. The same varnish was applied to five of the twenty wood blanks per sample type and dried and cured for eleven hours using UV light.

In longitudinal samples, the varnishes increased the sound insulation of the heartwood and the young wood and reduced their stiffness compared to the raw state. This may be desirable: The more elastic the wood of a violin is, the warmer and softer the high notes sound. However, this change is accompanied by a loss of clarity and sharpness in the violin sounds. The situation was different for cross-rehearsals. For these, both the sound attenuation and the stiffness increased. The values for sound propagation also increased.

In general, a correlation emerged between the varnish composition, the microstructure of the wood-varnish composites, their mechanical properties and their sound behavior. Gilani and her research group want to refine these findings in further studies. To this end, another scientist will join the research team from April 2016.

For comparison purposes, the Empa group also analyzed two antique violins (from Cremona and Saxony) at the Center for X-ray Analysis. The violin from Saxony showed extremely fine cracks in the varnish as well as surface impacts and suffered from woodworm infestation. Compared to this violin, the violin from Cremona had a higher density of the wood-varnish composite. As the density increases, so does the stiffness and the sound propagation values - the Cremonese violin will therefore have produced clearer tones than the violin from Saxony.

More info: www.empa.ch/web/s604/varnish-and-violins

The first "Basel Composition Competition" will take place from February 16 to 19, 2017. Ten compositions will be nominated in a selection process and performed by the Basel Symphony Orchestra and the Basel Chamber Orchestra as part of a public competition. The three best compositions will be awarded prizes worth a total of CHF 100,000.

The competition is aimed at composers of all ages from all over the world who compose new works and bring them to Basel for their world premiere. Three works will be awarded prizes at three competition concerts and a final concert, which will take place between February 16 and 19, 2017.

More info: www.baselcompetition.com

With 56 votes in favor and 43 against, Klanghaus Toggenburg failed to achieve the qualified majority of 61 votes in the final vote. This means that the project cannot be put to the St.Gallen electorate for the time being. According to the canton's press release, the government regrets the decision. It "sees this as a missed opportunity for Toggenburg and the entire canton of St.Gallen". 

As a first step, the reasons for the failure of the building proposal in the final vote will now be recorded and weighted. The Department of Construction and the Department of Home Affairs will analyze the points of criticism together with the municipality of Wildhaus-Alt St. Johann, Klangwelt Toggenburg and other interested parties. The government would like to reassess the current situation by the summer vacations, carry out any necessary clarifications and then decide whether and in what form the project can be resumed.