In recent years, musicians from third countries have always been granted permits that should not have been issued (see SMZ message). Most had already been informed at the end of 2013 and beginning of 2014, a few only in September 2014. Those affected will be granted transitional periods until at least the end of August 2015, the canton writes further.

According to the canton, discussions with the Federal Office for Migration have revealed that these permits may no longer be issued under any circumstances. The musicians can only continue to live and work in Switzerland if they meet the strict requirements for quota-based short-term or permanent residence permits. According to the assessment of the Office of Economy and Labor and the Federal Office for Migration, this is unlikely to be the case as a rule.

Around 55 musicians are affected by the change in practice. The canton intends to work with the Department of Justice and Security and the Federal Office for Migration to find a humanitarian solution for the 18 or so people who received such permits before January 1, 2011. The aim is to enable them to stay permanently and legally in Switzerland.

The others will only be granted a new work and residence permit for 2015 if they meet the strict requirements for a quota-based short-term or permanent residence permit.
 

In the second phase of the project, a larger number of organs will be examined more closely. Among other things, this involves identifying the fungi found, recording the structural condition of the church in detail and recording the indoor climate as well as researching the history of restoration and refurbishment.

In a preliminary project, mold was found not only on the instruments, but also in other places in the church interior, which is why the entire building is now being examined. The question of whether the infestation is favored by renovation measures of the last twenty years also plays a role, for example because the air exchange was reduced by tighter windows or surface coatings were used that serve as a breeding ground for the fungi.

The project brings together experts from the fields of building climatology, materials science, microbiology, restoration science and heritage conservation, who work closely with organ experts from churches and heritage authorities, parishes, organ builders and organists.

The "Femmusicale" association was launched this spring. President Patrizio Mazzola was able to win over Federal Councillor Simonetta Sommaruga for the patronage. According to its statutes, the association aims to organize musical events in which women play an important role as artists or managers. The centerpiece is the annual Femmusicale festival in Bern. Part of any profits will be distributed to organizations that fight for women's rights.

The first series of events will take place in Bern from November 14 to 16. It will kick off with a lecture by historian Brigitte Rentsch on the topic of Women in the history of Western music. Seven concerts will focus on female performers and works by female composers.

Further information: www.femmusicale.ch
 

A health-promoting music school is aware of possible psycho-physical stress and health problems caused by making music. It promotes prevention and health promotion among its music teachers and their music students and offers music physiology training events at regular intervals. Certification is preceded by the following music physiology training events for teachers:

1. Basics presentation
2. General practical basic course
3. Instrument-specific advanced course
4. Introductory course on performance training, stage skills and dealing constructively with excessive stage fright

Furthermore, a certified music school offers its teachers the opportunity to receive free music physiology consultations with specialists from the ZHdK's Department of Music Physiology / Music and Preventive Medicine.

Interested music schools should contact horst.hildebrandt@zhdk.ch or elisabeth.danuser@zhdk.ch.

MAS in Music Physiology
The Master of Advanced Studies (MAS) in Music Physiology at the Zurich University of the Arts, which is supported by the Swiss University Center for Music Physiology (SHZM) and integrated into the everyday life of a music university, is still unique in the world. Since 2002, the participating music teachers have been trained to become multipliers of music physiology content and the next generation of music physiology teachers at conservatoires and music schools in the semester-long structured course. The focus is on physiological strategies for the prevention and solution of music-medical problems. The training takes place in close cooperation with existing courses for music students as well as other music education and practical music courses. It covers a broad spectrum of topics such as prevention, learning physiology, mental training, stage skills, methodology and didactics as well as physiologically based (self-)instruction styles. Furthermore, introductions are offered to various schools of body (perception), training methods and forms of self-awareness as well as opportunities to observe music physiology consultations. Individual lessons in applied music physiology with the student's own instrument or vocal subject and a supervised teaching practicum with individual work on case studies are an essential part of the course. After a project management course, the course concludes with the implementation and evaluation of an institutionally relevant music physiology project in conjunction with a dissertation.

The graduates of this further education course are themselves active as artists and music teachers at universities, conservatories and music schools and are now part of the pool of lecturers who provide various music education and physiology courses such as lectures, courses, workshops and individual consultations. In the meantime, several music schools and conservatories have incorporated music physiology teaching and counseling courses into their curriculum. The number of continuing education courses given by graduates already totals over 170. Including the courses given by lecturers, over 300 music physiology continuing education courses have taken place in the last twelve years.

Music Physiology at the ZHdK
 

The book was published in summer 2014 and, according to Ingrid Wanja (operalounge.de) is less about the singer's career than "his experiences and views with and about art".

Musik Hug has announced that Thomas Hampson will be replaced by Andreas Müller-Crepon on
November 12 at the Steinway Gallery of Musik Hug in Zurich. Afterwards he will sign the book and CDs.

Thomas Hampson: Do you love beauty - Conversations with Clemens Prokop
192 pages, Henschel Publishers / Bärenreiter
ISBN 978 3 89487 912 9
Fr. 33.90
 

72% of those surveyed stated that culture has a rather high or very high significance in their lives. A clear majority see culture as an important means of safeguarding national identity, developing society and promoting integration.

78 percent are interested in cultural expressions in different styles, while only 15 percent say they are "mainly interested in
of a certain style".

By far the most important reason for consuming culture (65% of responses) is the need to "learn something". In second place (46%) is the desire to "experience something special". 79% believe that both the state and the private sector have a duty to promote culture. Only 7 percent would like to see this funded exclusively from private sources.

The studies can here can be downloaded free of charge from the Migros Culture Percentage website.

With this project, the initiators Tibor Gyalog (University of Teacher Education) and Beat Hofstetter (University of Music) want to open up access to the interdisciplinary subject of acoustics from the perspective of physics and music, writes the FHNW.

The presentation was very well received: In addition to many thousands of visitors, there was a short TV report on the Südwestfunk regional show and an invitation to the Beijing Science Festival 2015. Presentations are also planned for the anniversary event "150 Years of the Academy of Natural Sciences" in fall 2015 and at TuN Basel 2016.
 

Under the leadership of the Herzog August Bibliothek Wolfenbüttel, most of these institutions are following a master plan for the overall digitization of 17th century prints. It ensures that digitization is carried out in a comprehensive and balanced manner, that duplicate digitization is avoided and that all participating institutions can contribute titles according to their capacity and the size of their holdings.

The transformation of the prints held in German libraries into digital form creates the basis for new research questions, write those responsible. The systematic digitization of written sources is a central prerequisite not only for unrestricted access to works of cultural heritage for everyone, but also for the further development of digital humanities and the digital humanities.

More info: www.vd17.de

In 1955, the G. Henle publishing house published a milestone in Beethoven literature with Georg Kinsky and Hans Halm's list of all of Ludwig van Beethoven's completed works. Since then, Beethoven research has virtually exploded in many areas. The new complete edition of Beethoven's works is well advanced, the entire correspondence and Beethoven's conversation booklets have been published in excellent editions. In addition, groundbreaking works by international authors on Beethoven's creative process have changed our image of the composer. Reason enough to present this current state of research in a new standard work for a broad readership!

The new, two-volume Beethoven catalog raisonné is clearly structured to facilitate
The presentation of the historical aspects of each work - creation, publication, first performances, dedicatees, etc. - is followed in a second section by a description of the manuscripts and prints. For the first time, the sketches for the work are also comprehensively listed among the autographs. The prints also include contemporary reprints and arrangements with details of where they were found.

The works without opus numbers are supplemented by 23 new works. In addition, there are separate chapters on Beethoven's unfinished works, his compositional studies, opera and oratorio plans and copies of works by other composers and theoretical works. Several appendices provide information on spurious and dubious works and on publishing and printing in Beethoven's time. Extensive overviews and indexes make it easier for the reader to find the desired information.

Contents

• Works with opus number
• Works without opus number
• 23 new works without opus number
• 23 unfinished works
• Opera and oratorio plans
• Composition studies
• Copies of Beethoven from works by other composers
• Beethoven's transcripts from Theoretika
• Fake and dubious works
• Appendix on publishing, printing history and collected editions
• Indexes and overviews: Systematic overview of works; chronology of works by genesis and first publication; list of original publishers, dedicatees and librettists as well as the beginnings of titles and texts of vocal works

Main part of the catalog in German, introduction in German and English

Ludwig van Beethoven - Thematic-bibliographical catalog raisonné
Edited by Kurt Dorfmüller, Norbert Gertsch and Julia Ronge
With the collaboration of Gertraut Haberkamp and the Beethoven-Haus Bonn
Revised and substantially expanded new edition of the catalog raisonné by Georg Kinsky and Hans Halm
2 volumes, linen, 1,996 pages, 18.5 × 26.5 cm, ribbon marker
HN 2207, ISBN 978-3-87328-153-0
Subscription price until 31. 12. 2014: € 435,-
Price from 01. 01. 2015: € 495,-
Publication date: 01. 11. 2014

Further details

Juan Arnez (*1950) experienced the social ills of his homeland first-hand as a parentless street child. He later learned to play the panpipe and became an author, composer, musician and singer. He joined two other musicians and founded the group Los Kusis de Bolivia. The trio became extremely successful, receiving commissions for radio broadcasts, television appearances, theater performances and recordings and taking part in renowned festivals. Through concerts and the sale of recordings, Arnez helped to finance the construction of a school and a mothers' center.

Arnez has composed numerous pieces with the aim of conveying the cultural tradition of his home country. The instrumental line-up of the Requiems is diverse: six panpipes, accordion, three quenas, charango, violin, guitar, double bass and percussion instruments such as maracas, glockenspiel, rainstick, bongos, triangle, bombo and drum. In his instructions, the composer points out deviating possibilities. It was originally written for seven musicians, five soloists and a seven-part choir. The new version consists of a group of singers with two sopranos, an alto, a tenor, a baritone, a mixed choir and a children's choir.

The "Mass for a Miner" is in ten parts and formally follows the Latin Ordinary of the Catholic Church. Interspersed after the Sanctus is a Te Deum as Lacrimosa ll. However, it is not a requiem in the usual style. It is a cry for help against social injustice, which is still the order of the day in many countries around the world. With the Bolivian Requiem, Juan Arnez stands up for the miners who suffer from exploitation. It is a special merit of the Pan publishing house to perform this work as an anniversary gift.

Under the direction of Stefan Ruppen, the work will be performed on Sunday, November 23rdin the Kollegiumskirche Brig, on Wednesday, November 26thin Trogen and finally at the Thursday, November 27performed in the French church in Bern.
> www.spirit-singers.ch

Juan Arnez, Bolivian Requiem, Misterium del socavon, for soli, mixed choir and instruments, choral score, pan 1203A, € 25.00, Pan-Verlag, Basel 2014

The booklet by the clarinettist, who teaches at the Fribourg Conservatory, is in French. Each piece is dedicated to two or three technical aspects of clarinet playing. This begins with warming up, an embouchure and a reed exercise and extends to advanced playing techniques on the clarinet. The two-line duet Funambule (Seiltänzer) is dedicated to micro-interval glissandi in the third position, whereby the resulting friction simultaneously opens the player's ears. Other pieces deal with slaps, multiphonics and quavers. While the fingerings for the microintervals and multiphonics are given, there are unfortunately no instructions on how to play the slap reeds.

The last three pieces in the booklet combine several of the techniques previously worked on separately and are also suitable for auditions or level tests. ZiganaThe eponymous piece is a gypsy tune with a slow introduction, a lively middle section and a fully composed cadenza at the end. A piano accompaniment is also included for this and four other numbers. Juggling is a duet with many suggestions and a melody divided between the two voices, which is a rhythmic challenge for the players, but also a lot of fun. On the last track Le Serpent et la Mouche is a solo piece in which the new playing techniques developed previously are fully utilized.

These appealing practice pieces do not neglect musical expression and the pictorial titles stimulate the player's imagination. This edition is aimed at advanced beginners who have already mastered the basics of clarinet playing and are keen to explore new playing techniques on their instrument.

Sarah Chardonnens Lehmann, Zigana, 23 courtes pièces originales et dynamiques, dont cinq avec piano, pour jeunes clarinettistes. C06756, € 19.20, Editions Combre (Henry Lemoine), Paris 2013

Anyone who goes on a journey often follows a timetable, but must always be able to improvise and get involved in something new. - And this is precisely the aim of Andreas Hirche in A piano goes on a journeypublished by Breitkopf Pädagogik. The carefully selected examples are marked with levels of difficulty and give the player a kind of roadmap to many small improvisation islands on which to linger. The selection is aimed at all those who feel addressed by world music and who are open to discovering and trying out new things. Whether more meditative and introverted as in Japanese music or lively and extraverted as in the music of the Balkans or South America, there is something to suit every taste.

The author sees the booklet as a kind of piano school and with this in mind provides a wealth of very helpful tips. On the one hand, background knowledge on the different styles, but also technical playing aids and considerations on aspects such as "balance between practicing and playing", "flow", "technique" or "problems with independence". In addition, the appendix contains a detailed glossary of important technical terms, and an accompanying CD gives you the opportunity to listen to the pieces and practice improvising to play-alongs in mp3 format.

Andreas Hirche, A piano goes on a journey. World music, rhythm, improvisation, EB 8819, with CD, € 24.90, Breitkopf & Härtel, Wiesbaden 2014