According to the association, more than every second music school in Germany offers special music lessons for the disabled, writes the German Press Agency, also in cooperation with special schools or institutions for the disabled. Around 8100 disabled children, young people and adults are able to make music themselves. Their number is growing continuously.

The Association of German Music Schools (VdM) understands inclusion comprehensively as a general attitude for music school work that welcomes all people, people with disabilities as well as people from other cultures, and also children and young people who are hindered in their musical education by school conditions, explains Ulrich Rademacher, Federal Chairman of the VdM. The Federal Assembly intends to adopt a "Potsdam Declaration" on this tomorrow.

Almost 930 music schools across Germany are affiliated to the Association of German Music Schools. Their facilities are spread across around 4000 locations. A good one million pupils take advantage of their offerings. Around 300 music school directors are gathered in Potsdam.

Eugen M. Dombois was born on Nov. 15, 1931 in Bethel near Bielefeld. His father, Georg Müller, was a well-known teacher. After training as a secondary school teacher (German, music), Dombois studied lute and guitar from 1955-1958 with Walter Gerwig in Cologne, a lutenist who was at the forefront of historical music practice. He then taught at the Nordwestdeutsche Musik-Akademie Detmold and at the same time began a successful international career as a concert artist. Unfortunately, an impairment of his hand forced him to give up public concerts prematurely. In 1962, Paul Sacher appointed him to the Schola Cantorum Basiliensis, where he continued his extremely fruitful teaching career until his retirement in 1996. His illustrious list of former students includes Toyohiko Satoh, Hopkinson Smith, Jürgen Hübscher, Paul O'Dette, Rolf Lislevand, Karl-Ernst Schröder (+), Robert Barto, Joachim Held, Peter Croton, Christina Pluhar and many others. He also found a family home in Basel and lived in the city's catchment area until the end.

Eugen M. Dombois had high expectations of his art, which he conveyed to his students with great intensity. He was particularly interested in liberating lute playing from the legacy of the guitar and restoring its specific historical quality. In this way, he succeeded in establishing his class at the Schola Cantorum Basiliensis as an international center of lute playing. His critical mind and his polished use of the word made him a consistently stimulating and demanding discussion partner. A speculative essay (together with Véronique Daniels) on an enigmatic Italian dance treatise of the 15th century appeared in the Basel Yearbook for Historical Music Practice 1990 and shows this side of his personality in an impressive way.

Eugen M. Dombois will retain a place of honor in the ancestral gallery of early music and will remain inextricably linked to the revival of historically oriented lute playing. The Musik-Akademie Basel and the Schola Cantorum Basiliensis bid farewell with sadness and gratitude to this important musician and teacher, colleague and friend.
 

One research project, scientifically led by Matthias Echternach from the FIM, is concerned with the detailed analysis of vocal fold vibrations using high-resolution high-speed glottography during phonation in high registers.

The other two projects, led by Bernhard Richter from the FIM and Maxim Zaitsev from Medical Physics, are concerned with the three-dimensional reconstruction of the vocal tract during singing.

Even though there are numerous research findings in this area, various fundamental physiological processes in the production of vocal utterances are not fully understood, writes the FIM. This concerns both sound production in the larynx and the importance of the vocal tract in sound formation.

Thanks to the extensive DFG funding, it is now possible to strengthen and further expand the basic research on voice physiology already established in cooperation between the Freiburg University of Music and the Freiburg University Medical Center.

According to the music school, the first prize went to Romane Favia and the second to Grace Sibre. Romane Favia has been playing the violin since the age of three and studies in Zurich with Liana Tretiakova.

The Zakhar Bron School has been active since 2010 and supports children and young people on their way to a professional career in music. The music school is active in Zurich, Zug and Interlaken.

The name "Flame" is an abbreviation for: Futurs Liens Association Musiciens de l'Europe. The competition was founded in 1989 by composer Patrice Sciortino and pianist Germaine Tocatlian with the aim of supporting young pianists, violinists, violists, cellists and singers at the beginning of their careers. Initially open to young musicians between the ages of 16 and 32, pianists and violinists between the ages of 6 and 16 have also been admitted since 2001.
 

http://concours-flame.com
www.zakharbronschool.ch
 

Born in 1992, Zoltán Despond graduated from secondary school in Bulle in 2010. He then began studying at the University of Music Waadt-Wallis-Freiburg HEMU and obtained a bachelor's degree in 2013. In addition to his studies, Zoltán Despond successfully took part in several masterclasses in Switzerland and abroad. He has also played in the Swiss Youth Symphony Orchestra and is a member of the Saltocello ensemble.

The scholarship is intended to help Zoltán Despond finance his second year of study for the Master of Interpretation and Performance at the Zurich University of the Arts and the maintenance costs of his instrument.

The Office of Culture received three applications for the 2014 scholarship from the Pierre and Renée Glasson Fund. Following hearings, the expert jury, consisting of the director of the Fribourg site of the Lausanne University of Music (HEMU) and two experts, finally decided on Despond as the recipient.

The Pierre and Renée Glasson Fund for Music, established in 1995 and administered by the Office of Culture of the Canton of Fribourg, serves to support the activities of musicians from the Canton of Fribourg or the rest of Switzerland who live in the Canton of Fribourg. This fund can be used to award a scholarship to help finance postgraduate studies at a music college in Switzerland or abroad.

According to a press release from Kantoin Aargau, the band impressed the jury with their harmonious ensemble playing and strong, coherent songs. The mixture of reggae, pop and rock invited the audience to dance and the singer's unique, expressive voice made them sit up and take notice.

As bandXaargau winners, the band can go on a club tour through Aargau with at least four concerts to gain live experience and make contacts. Two days in the professional Soma Records studio in Zofingen (Heidi Happy, Ritschi, Trauffer) will also enable them to apply for further concerts with demos. Also included is an hour of airtime on Kanal K radio.

According to the organizers' press release, this year's festival under the direction of Beni Santora, Adrian Meyer and Lisa Schatzmann will focus on "two composers who could not be more different: Richard Strauss, whose 150th birthday will be celebrated in 2014, and his great idol, Wolfgang Amadeus Mozart. Although each represents a different era and a different style, there are an astonishing number of similarities in their biographies - but also stark contrasts resulting primarily from their characters. Mozart, unsteady and reckless, squandered great opportunities and died at barely 36 years of age, while Strauss, intent on security and conserving his strength, was able to reap a rich harvest in old age.

The festive Fronalpsaal at the Seehotel Waldstätterhof provides the ideal setting for the chamber music concerts on Sunday afternoon, while the wonderful acoustics of the old cement factory in Nova Brunnen will perhaps be heard for the last time on Friday evening. Although the brittle concrete building may look anything but a concert hall from the outside, you will be surprised by the warm sound of the hall from the very first note and perhaps be inspired to explore the upper floors."

Advance booking: 041 825 00 40 (Brunnen Tourismus)
Detailed information: www.musikfest-brunnen.ch
 

Born in 1962, Ammann studied in Lucerne and at the Swiss Jazz School in Bern and has played as a trumpet player, keyboardist and electric bassist in jazz ensembles. He is currently a professor at the Lucerne School of Music.

According to Sabine Altorfer, the chair of the jury, Dieter Ammann is "an outstanding and independent composer". His works not only inspire enthusiasm in Switzerland, but are also recognized internationally.

Dieter Ammann is the 16th AZ Medien Culture Prize winner. The award will be presented to him at a ceremony in October. In previous years, the prize has gone to the Flamenco en route dance company, Ruedi Häusermann, Sol Gabetta and Andreas Fleck, among others.

This year's categories were composition, vocal ensembles, chamber music free repertoire and new music after 1950 as well as solo recitals of new music after 1950 such as free repertoire of string and woodwind instruments, harp, accordion, hammered dulcimer and classical percussion.

200 prizes were awarded in the solo category, 55 in the chamber music category, namely 30 first prizes with distinction, 94 first prizes, 122 second prizes and 46 third prizes. Over 90 musicians were particularly pleased to receive a special prize.
The results are available at: www.sjmw.ch

The prizewinners' concert on May 11 was recorded by Swiss Radio SRF 2 Kultur and will be broadcast at a later date.

Next year, the Swiss Youth Music Competition celebrates its 40th anniversary.
 

Born in Schlüchtern in 1963, Isabel Mundry studied composition, music and art history as well as philosophy in Berlin and Frankfurt (Main). After teaching at the Berlin Church Music School and the Berlin University of the Arts, she was appointed Professor of Music Theory and Composition at the Frankfurt University of Music in 1996. She has been a professor of composition at the Zurich University of Music and Theater since 2003.

Isabel Mundry has already been awarded numerous prizes, including the Boris Blacher Composition Prize, the Busoni Composition Prize, the Kranichstein Music Prize and the Siemens Sponsorship Prize. Her music theater One breath - the odyssey received the Critics' Award for World Premiere of the Year in 2006.

Isabel Mundry was also Composer in Residence at the Lucerne Festival in 2003. Her works are published by Breitkopf & Härtel.

This two-volume selection of Corelli's trio sonatas (op. 1 to 4) brings together 12 sonatas, three from each of the four operas. The first volume contains Sonata da chiesa (from op. 1 and 3), in the second Sonata da camera (from op. 2 and 4). With these works, the "Bolognese Arcangelo, ... the best violinist who ever lived and the greatest master of composition" (contemporary travelogue from Rome by John Drummond, 1695) created "exempla classica", exemplary works for the sonata genre and instrumental music in general. From 1681, he meticulously edited them himself. The numerous contemporary reprints bear witness to the success of these compositions. Corelli was careful not to impose too much virtuosity on the violins; for all their compositional richness, these trio sonatas remain committed to the ideals of simplicity, temperance and subtlety. Corelli, the "nuovo Orfeo de' nostri tempi" (Angelo Berardi, 1689), turned the genre into a touchstone of instrumental composition, so to speak: subsequently, a number of composers, including Antonio Vivaldi, began their public appearances with the publication of trio sonatas.

The baroque violinist and music historian Bernhard Moosbauer, a specialist in instrumental music of the 17th and 18th centuries and German-Italian musical relations in the 17th and early 18th centuries (he worked on this at the German Historical Institute in Rome, among other places), supervised this Urtext edition; he provided the booklets with a detailed introduction to the history and nature of these trio sonatas and gives practical advice on interpretation in a separate chapter, a brief compendium of historically informed performance practice. He dispenses entirely with technical additions to the parts such as fingerings and bowings. Jochen Reutter has omitted the basso continuo - if you want to look past it, you will find the figures in both the piano and violoncello parts.

Arcangelo Corelli, Trio Sonatas for two violins and basso continuo, edited by Bernhard Moosbauer; Volume 1, Sonata da chiesa, selection from op. 1 and 3, UT 50 277; Volume 2, Sonata da camera, selection from op. 2 and 4, UT 50 287; € 29.95 each, Wiener Urtext Edition (Schott/Universal) 2013

Corelli's Sonatas op. 5 have often been republished since their composition around 1700. In their new edition, Christopher Hogwood and Ryan Mark have added four extremely valuable elements to the pure Urtext:

1. A surprising harpsichord movement by Antonio Tonelli (1686-1765), reflecting the musical practice of the time, is dense, set with two-handed chords, sometimes octaves the bass line or even changes it rhythmically and plays along with the violin solos. The complement, 24 Preludi per tutti i Tuoni suggests preluding before sonatas.
2. An additional violin part with ornamented versions according to the improvisational practice of the time is extremely useful, as today efforts are made to make the slow movements of the Sonata da chiesa I-VI (many fugal fast movements) and certain Prelude, Allemande, Gavotte and Gigue of the Sonata da camera VII-XI (dance suites) with ornaments. Famous virtuosos such as Giuseppe Tartini, Francesco Geminiani, his pupil Mathew Dubourg, Johan Helmich Roman, Michel and Christian Festing as well as anonymous sources are represented. The four rhythmic variants of the giga from Sonata V. On adaptations of the Follia (Sonata XII) was dispensed with.
3. The detailed trilingual introduction, based on the latest research, contains beautiful facsimiles, many historical details and inspiring suggestions for execution.
4. The audit report Critical Commentary in English provides precise source information and details for the interpreters' decision-making process.

Arcangelo Corelli, Sonatas for violin and basso continuo op. 5, Urtext edited by Christopher Hogwood and Ryan Mark; vol. 1, op. 5, I-VI, BA 9455; vol. 2, op. 5, VII-XII, BA 9456; score and parts, € 24.95 each, Bärenreiter, Kassel 2013

"The CNS is dancing", Blixa Bargeld from Einstürzende Neubauten once said. This Jacques Demierre also gets the central nervous system going. Breaking Stonewhich means: a radically personal musical language far removed from any conventions and stylistic commitments. In the ten-minute piece Sumpatheia violin and guitar perform a fine duet. The tone of the fantastic Denitsa Kazakova is thin, with Jean-Christophe Ducret playing timid harmonics. It sounds introverted, as if casually shaken out of the sleeve, but never arbitrary. With technical terms Sumpatheia Hard to describe. Harmonious, extremely rich, colorful - you could probably write all that. But they remain side issues. It is simply clever, stylistically confident music, and above all: credible music also because of its open, unprotected subjectivity.

Jacques Demierre, the clever improviser and composer from Geneva, also studied linguistics for a while. In the partly improvised Breaking Stone for voice and piano, he speaks into the body of the piano and accompanies his isolated, incomprehensible fragments of speech sometimes with carefully groping chords, sometimes with fingerings on the piano, in the form of string bowings or more energetic pizzicati or strums. There is a reason for the length of 40 minutes. It takes time for the ear to become accustomed to these enigmatic interweavings of voice and rhapsodizing piano. Ultimately, you will never "understand" Demierre's music in the classical sense. But the CNS doesn't care. It has no interest in comprehensible art. But who does?

The following photo gallery complements the article by Brigitte Bachmann-Geiser Dulcimer in Switzerlandwho is in the Swiss Music Newspaper 5/2014 was published.

The pictures come from Brigitte Bachmann-Geiser's archive, which she has built up over 40 years of research. The images may not be copied. Anyone interested in individual illustrations should contact the owners of the pictures directly or contact contact@musikzeitung.ch turn.

Picture 1