Undine is the name of the CD, and Eva Oertle is depicted on the cover in a "mermaid pose". The title says it all, at least in part, because the focus of the recording, which the Swiss flautist and radio editor presents together with her duo partner Vesselin Stanev on the piano, is clearly the Undine Sonata E minor op. 167 by Carl Reinecke. But the CD by no means turns out to be a spasmodic search for musically immortalized water creatures.
Undine - we know the mysterious mermaid who wants to become human and fails to do so from de la Motte Fouqué's story of the same name. This was also the model for Reinecke's work, the only flute sonata of the Romantic period and therefore popular with virtuosos of the genre. Oertle has grouped a program around it, which either continues the theme directly or takes it into account through the character of the pieces.
The sequence is well structured so that the many arrangements are not distracting: for example, the E minor Sonata for Violin and Piano K. 304 by Mozart and the F minor Sonata (not F major as listed in the booklet) op. 4 by Mendelssohn. This creates larger units between which song arrangements by Schubert or Bizet are inserted.
Eva Oertle, sensitively accompanied by Vesselin Stanev, is thus able to develop her flute art in a variety of ways. Even the beginning with Haydn's Mermaid's Song is beautifully "sung out" in its simple cantilena. In the Mendelssohn sonata, the peculiarly poetic character is expressed just as much as the virtuosity in Reinecke's finale.
In the highly Romantic pieces, which include Reinecke and Schumann's Sea fairy op. 125, one would have wished for a little more agogic and dynamic looseness and emotional exuberance. However, Oertle's low-vibrato approach, which is clearly based on historical performance practice, simply and clearly carries the listener through Undine's undulating water world.

Undine - Works for Flute & Piano. Eva Oertle & Vesselin Stanev. Sony music 88883735152

The three newly published works for clarinet presented here provide a wonderful insight into the diversity of contemporary composing. All three were written in 2012 by Swiss composers or composers living in Switzerland, which means that the basic similarities have already been mentioned. The first is a solo piece for bass clarinet, the second is a classical sonata for clarinet and piano, the third work is three bagatelles in a moderately modern, tonal style.

Canto for bass clarinet solo by the successful Zurich composer David Philip Hefti is dedicated to the clarinettist Elmar Schmid. The tone material is derived from the name of the dedicatee: E-La-Mi-A-Re eS-C-H-MI-D. The first name, consisting of fourth/quint intervals, proves to be less productive and no longer makes much of an appearance, but the tone sequence E-flat-C-B-E-D is used extensively. The seven-minute work derives its basic structure from two tempi (132/44) in a ratio of 3:1; these result in an alternation between calm, melodious and tonally exciting passages with many multiphonics on the one hand and hectic sections characterized by slaps, key and air noises as well as sometimes abrupt dynamic changes on the other. The recommended multiphonics work very well and result in interesting sound progressions.

David Philip Hefti, Canto, for bass clarinet solo, GM 1882, € 12.00, Edition Kunzelmann, Adliswil 2012

Edoardo Torbianelli speaks a completely different musical language in his Sonata No. 2 for clarinet and piano. Torbianelli was born in Trieste in 1970 and studied piano and harpsichord in his home town. Today, he works as a lecturer and specialist in historical performance practice, particularly in the classical-romantic period, at the Schola Cantorum Basiliensis and the Bern University of the Arts, among others.

His three-movement sonata was composed in the style of music in Vienna around 1805. The first movement of the twenty-minute work is entitled Allegro amabile, is in 3/4 time and is opened by the clarinet with a catchy C major triadic theme, which dominates the entire movement and finds its counterpart in a sustained, descending triadic figure. The second movement in 12/8 time with sparkling quavers in the piano captivates with a wonderfully cantabile melody in the clarinet, which is replaced in the middle section by some restlessness and drama. The third movement, entitled Finale - Tema con variazioni, is based on a theme by Antonio Salieri from the opera Les Danaïdes is the basis. The clarinettist can demonstrate his dexterity in the variations. This classical sonata from 2012 is a pleasure to play and enriches the classical repertoire for clarinet.

Edoardo Torbianelli, Sonata No. 2, for Clarinet and Piano, CL 34, Fr. 25.00, Edition Bim, Vuarmarens 2012

Once again, the Geneva trumpeter and composer Jean-François Michel takes us into another musical world with his 3 Bagatelles for clarinet and piano. With musical wit, he skillfully creates a kind of film score that allows vivid images to unfold before the listener's eyes. The first movement Cortège begins mysteriously with a rhythmically accentuated opening in the piano and a murmur in the clarinet, reminiscent of an early morning jester's procession. The clarinet then escalates into slightly absurd, grandiose gestures, alternately supported by the piano with flowing movements (the clarinet's previous murmur) or encouraging accompaniment. The second movement with the title Chanson is a calm cantilena with a lush melodious sound and an animated middle section. The final movement Trafic finally, constantly alternates between an even and odd basic pulse and draws its rhythmic conciseness from this. The clarinettist can live out his virtuosity in sparkling cascades. The movement is effective and demands solid finger technique from the performer.

The bagatelles, with a duration of approx. 11 minutes, are suitable both for advanced pupils, e.g. as competition pieces, and as an entertaining interlude in a concert.

Jean-François Michel, 3 Bagatelles, for clarinet and piano, CL 36, Fr. 15.00, Edition Bim, Vuarmarens 2012

In an article in the journal Frontiers in Systems Neuoscience, the researchers report on experiments with mice and with so-called histone deacetylase inhibitors (HDAC inhibitors), which apparently favor absolute hearing in a siginificant way. It is not cognitive functions but sensory differentiation abilities that are better activated. The substances in question are contained in a drug that has previously been used to treat epilepsy.

According to current scientific findings, absolute pitch, the ability to recognize not just relative but absolute pitches, can only be acquired during a critical phase of childhood. Later on, even intensive training is of no use.

Original article: Gervain J, Vines BW, Chen LM, Seo RJ, Hensch TK, Werker JF and Young AH (2013) Valproate reopens critical-period learning of absolute pitch. Front. Syst. Neurosci. 7:102. doi: 10.3389/fnsys.2013.00102
 

The subtitle "The rich viola repertoire from Aaltonen to Zytowitsch" is justified by a new vademecum that includes countless unknown composers. It is a practice-oriented source work of a special kind, a wonderfully unconventional book full of surprises. A passionate amateur violist with half a century of chamber music experience writes in a refreshing way about how he feels about the compositions discussed. Most of the commentaries on the works are valuable, professionally convincing pleas from a music lover who is particularly adept at playing quartets. His enthusiasm for many a forgotten gem is inspiring.

In the preface, the author admits: "My comments are (subjective) suggestions and (objective) information about the nature and difficulty of the works." For example, he writes about Rebecca Clarke's main work: "An extremely lively sonata that contains everything a violist's heart could desire ..." On the availability of Sergei Slonimski's works, he makes one of many time-critical remarks: "It is inexplicable to me that such restrictions still exist in 2010, when everyone is talking about globalization."

In his book, which is indispensable for viola players, Ewald lists chamber music works with viola and other string instruments in addition to the compositions for viola and piano, gives references to foundations, sources of supply and, as an appendix, in addition to a list of anthologies, includes an index by instrumentation.

Konrad Ewald, Music for viola. The rich viola repertoire from Aaltonen to Zytowitsch. 4th completely revised and greatly expanded edition, 454 pages, Fr. 68.00, self-published, Liestal 2013
Distributed by: Amadeus Vertrieb, Winterthur, Order No.: EWALD, ISBN 978-3-033-03872-1

Elegía and Pieza para clarinete solo are two very short pieces from the pen of the then 25-year-old Maurizio Kagel, which have only recently resurfaced and were premiered in Cologne in 2011. The two miniatures were not included in the list of works and only came to light in the Sacher Foundation archive after Kagel's death. Kagel had composed them in Argentina in 1956/57 before coming to Europe.

Both pieces are based on a twelve-tone row. The Elegía begins with a short Lento epilogue before the Allegro main section. The twelve-note row begins in this main section and then appears four times in succession. The Allegro in continuous three-four time has a lively, playful expression. The second piece Pieza is marked with the tempo indication Lento. It has a much greater range than the Elegía and demands numerous large, legato leaps from the performer. It is expressive in character with differentiated dynamic indications and the playing instruction "espressivo molto". The middle section in 5/8 time is animated and leads to a short climax.

It is gratifying that these two delightful finds from Mauricio Kagel's estate have found their way into a beautiful, printed edition including illustrations of the autographs in the Peters Contemporary series. In their spicy brevity, they represent an enrichment and should also fit perfectly into a classical-romantic concert program "despite" twelve-tone music.

Maurizio Kagel, Elegia & Pieza para clarinete solo, EP 11388,€ 6.80, C. F. Peters, Frankfurt et al. 2013

We are very grateful to harpist Johanna Seitz for publishing a second harp concerto by Johann Wilhelm Hertel. In an extremely informative preface, we learn that the harpsichordist Hertel was well acquainted with the technical possibilities of the harp and may have written his three concertos (in F major, D major and G major) for the daughter of the famous harpist Franz Petrini.

This concerto in D major dates from the period of the sensitive style (early classical) and calls for an orchestra consisting of two horns, violins, viola and cello. While the orchestra plays a strongly rhythmic opening motif on an insistent note, this motif is very lightly and playfully interwoven by the harp. The second movement is elegant, although the solo harp part also plays ornate capers here. The concerto ends on an upbeat note with a Vivace.

It is noticeable that Hertel had a preference for rhythmic variety: as if he were improvising his solos, quavers, semiquavers, triplets and ornaments appear within a phrase. He often plays with syncopation. This makes the music seem lively, cheerful and light and never boring, although the concerto is quite simple in harmonic terms. It was probably written for the baroque harp, possibly for the single pedal harp. All three movements remain in D major.

Thanks to entertaining motifs and great transparency, the harp part is very easy to play. The concert will be a very welcome addition to our repertoire.

Johann Wilhelm Hertel, Concerto in D major for harp (or harpsichord), 2 horns, 2 violins, viola and violoncello, first edition, score, EW 533, € 22.50, Edition Walhall, Magdeburg 2011

The three newly published works for clarinet presented here provide a wonderful insight into the diversity of contemporary composing. All three were written in 2012 by Swiss composers or composers living in Switzerland, which means that the basic similarities have already been mentioned. The first is a solo piece for bass clarinet, the second is a classical sonata for clarinet and piano, the third work is three bagatelles in a moderately modern, tonal style.

Canto for bass clarinet solo by the successful Zurich composer David Philip Hefti is dedicated to the clarinettist Elmar Schmid. The tone material is derived from the name of the dedicatee: E-La-Mi-A-Re eS-C-H-MI-D. The first name, consisting of fourth/quint intervals, proves to be less productive and no longer makes much of an appearance, but the tone sequence E-flat-C-B-E-D is used extensively. The seven-minute work derives its basic structure from two tempi (132/44) in a ratio of 3:1; these result in an alternation between calm, melodious and tonally exciting passages with many multiphonics on the one hand and hectic sections characterized by slaps, key and air noises as well as sometimes abrupt dynamic changes on the other. The recommended multiphonics work very well and result in interesting sound progressions.

David Philip Hefti, Canto, for bass clarinet solo, GM 1882, € 12.00, Edition Kunzelmann, Adliswil 2012

Edoardo Torbianelli speaks a completely different musical language in his Sonata No. 2 for clarinet and piano. Torbianelli was born in Trieste in 1970 and studied piano and harpsichord in his home town. Today, he works as a lecturer and specialist in historical performance practice, particularly in the classical-romantic period, at the Schola Cantorum Basiliensis and the Bern University of the Arts, among others.

His three-movement sonata was composed in the style of music in Vienna around 1805. The first movement of the twenty-minute work is entitled Allegro amabile, is in 3/4 time and is opened by the clarinet with a catchy C major triadic theme, which dominates the entire movement and finds its counterpart in a sustained, descending triadic figure. The second movement in 12/8 time with sparkling quavers in the piano captivates with a wonderfully cantabile melody in the clarinet, which is replaced in the middle section by some restlessness and drama. The third movement, entitled Finale - Tema con variazioni, is based on a theme by Antonio Salieri from the opera Les Danaïdes is the basis. The clarinettist can demonstrate his dexterity in the variations. This classical sonata from 2012 is a pleasure to play and enriches the classical repertoire for clarinet.

Edoardo Torbianelli, Sonata No. 2, for Clarinet and Piano, CL 34, Fr. 25.00, Edition Bim, Vuarmarens 2012

Once again, the Geneva trumpeter and composer Jean-François Michel takes us into another musical world with his 3 Bagatelles for clarinet and piano. With musical wit, he skillfully creates a kind of film score that allows vivid images to unfold before the listener's eyes. The first movement Cortège begins mysteriously with a rhythmically accentuated opening in the piano and a murmur in the clarinet, reminiscent of an early morning jester's procession. The clarinet then escalates into slightly absurd, grandiose gestures, alternately supported by the piano with flowing movements (the clarinet's previous murmur) or encouraging accompaniment. The second movement with the title Chanson is a calm cantilena with a lush melodious sound and an animated middle section. The final movement Trafic finally, constantly alternates between an even and odd basic pulse and draws its rhythmic conciseness from this. The clarinettist can live out his virtuosity in sparkling cascades. The movement is effective and demands solid finger technique from the performer.

The bagatelles, with a duration of approx. 11 minutes, are suitable both for advanced pupils, e.g. as competition pieces, and as an entertaining interlude in a concert.

Jean-François Michel, 3 Bagatelles, for clarinet and piano, CL 36, Fr. 15.00, Edition Bim, Vuarmarens 2012

Undine is the name of the CD, and Eva Oertle is depicted on the cover in a "mermaid pose". The title says it all, at least in part, because the focus of the recording, which the Swiss flautist and radio editor presents together with her duo partner Vesselin Stanev on the piano, is clearly the Undine Sonata E minor op. 167 by Carl Reinecke. But the CD by no means turns out to be a spasmodic search for musically immortalized water creatures.

Undine - we know the mysterious mermaid who wants to become human and fails to do so from de la Motte Fouqué's story of the same name. This was also the model for Reinecke's work, the only flute sonata of the Romantic period and therefore popular with virtuosos of the genre. Oertle has grouped a program around it, which either continues the theme directly or takes it into account through the character of the pieces.

The sequence is well structured so that the many arrangements are not distracting: for example, the E minor Sonata for Violin and Piano K. 304 by Mozart and the F minor Sonata (not F major as listed in the booklet) op. 4 by Mendelssohn. This creates larger units between which song arrangements by Schubert or Bizet are inserted.

Eva Oertle, sensitively accompanied by Vesselin Stanev, is thus able to develop her flute art in a variety of ways. Even the beginning with Haydn's Mermaid's Song is beautifully "sung out" in its simple cantilena. In the Mendelssohn sonata, the peculiarly poetic character is expressed just as much as the virtuosity in Reinecke's finale.

In the highly Romantic pieces, which include Reinecke and Schumann's Sea fairy op. 125, one would have wished for a little more agogic and dynamic looseness and emotional exuberance. However, Oertle's low-vibrato approach, which is clearly based on historical performance practice, simply and clearly carries the listener through Undine's undulating water world.

The imzad is a one-stringed violin that is very important to the Tuareg in Algeria, Mali and Niger. The string instrument is made and played exclusively by Tuareg women according to ancient traditions. The musical knowledge is passed on exclusively through oral instruction, observation and imitation.

The instrument and its culture are supported by the Jutta Vogel Foundation for Cultural Preservation in the Deserts of Africa, which is based at the University of Cologne. Thanks to the commitment of the foundation and local partners, ten young women in Kidal can learn how to make and play the traditional instrument from an old Imzad player.

More info: jutta-vogel-foundation.com

Photo: zvg

Valentin Gloor

The Winterthur Conservatory has announced that Valentin Gloor will take over from Hans-Ulrich Munzinger on August 1, 2014. As head of SAMP, singer Gloor played a key role in the further development of SMPV professional training, which he led to Bologna-compatible structures and degree programs at SAMP/Kalaidos Musikhochschule. In addition to his work on political and educational policy committees, Gloor regularly gives concerts as a singer and ensemble leader.

Hans-Ulrich Munzinger will hold the full management position until the end of the 2013/14 school year.
 

According to the governing council (SMZ has reported), the Basel-Stadt Grand Council also approved an increase of CHF 100,000 in annual subsidies. This decision is, as the basel sinfonietta "The basel sinfonietta is the only large-scale Swiss orchestra that has been consistently committed to the performance and dissemination of new music and musical forms since it was founded. The decision of the Grand Council is all the more important as the basel sinfonietta is at a decisive turning point. The project orchestra works with constantly changing guest conductors. This makes it difficult to work continuously on the quality of the orchestra's playing in the long term. The musicians, who are constantly striving to develop and improve, have decided, in consultation with the management, to appoint a conductor in residence for the 2016/17 season. This conductor will lead up to four sessions per season and thus work towards continuously improving the sound quality of the orchestra over a longer period of time."

Studio Roma is a transdisciplinary research program that takes place at Villa Maraini, the headquarters of the Istituto Svizzero di Romais based at the University of Vienna. It offers residency grants and research stays to young artists and researchers. Studio Roma is a place of production, change and work, where the role and potential of art and knowledge are critically examined. This year's theme is: Confronting the crisis: Knowledge concepts and tools put to the test.

Applications are open to people up to the age of 40 who are Swiss citizens or resident in Switzerland, as well as people with proven links to Swiss cultural or academic institutions. The duration of the residency is usually three to ten months, between September and July. The residencies must include the Atelier Studio Roma, which lasts approximately eight weeks and will take place between October 2014 and April 2015. The application deadline is February 24.

Further information and registration:
istitutosvizzero.it
studioroma.istitutosvizzero.it
 

The European Music Council (EMC) is organizing this year's music forum together with the Swiss Music Council and the Yehudi Menuhin Forum in Berne. The topic is: Music and politics - shared responsibility.

In its newsletter of December 20, the European Music Council writes that music makes an essential contribution to the political and social development of a peaceful and inclusive Europe. Currency crises, austerity measures and rising unemployment have shaken citizens' faith in the European project. The EMC assumes that music and culture play a central role in restoring trust in Europe. Local, national and European political institutions must provide the necessary foundations to fully develop the musical potential for a diverse and united Europe.

The slogan "Unity in diversity" applies to both Europe and Switzerland. The forum will explore the following questions: What does diversity look like? What are its challenges? How is diversity reflected in society? The host country Switzerland, which describes itself as a "nation of will", provides a suitable environment for discussing the question: What can Europe learn from Switzerland in this respect?

Further information and registration forms will be available on the EMC website at the beginning of 2014: www.emc-imc.org/efm
 

As announced by the Executive Board, Pedro Zimmermann is leaving the company after six years of successful work. Ensemble Corund. The advertisement for the position of Managing Director produced many qualified candidates. The Board of Directors has now appointed singer and manager Harald Schneider as Managing Director as of January 1, 2014. Schneider has worked for many years as managing director, manager and director for orchestras such as the Basel Sinfonietta, the Hamburg State Opera Orchestra and the Freiburg Philharmonic Orchestra. However, his first love is vocal music and he brings with him a wealth of knowledge in the field of choral literature and professional choral music, according to the press release.

The Ensemble Corund was founded in 1993 as a professional vocal ensemble and has been directed by Stephen Smith ever since.
 

According to an announcement from the Bern University of the Arts (HKB), five Swiss formations have made it through from almost two hundred applications: The Colin Vallon Trio, the duo Andreas Schaerer and Lucas Niggli, pommelHORSE, Rom-Schaerer-Eberle and A.Spell are not only based in Bern, but the majority of the bands are also HKB graduates and HKB lecturers.

Jazzahead is the world's most important jazz music trade fair and will be held in Bremen for the ninth time in 2014. In addition to the trade program, there will be a showcase festival with 44 concerts. The European Jazz Meeting presents 18 selected bands from all over Europe (excluding Germany) on April 26, 2014.