The RPC is housed in a specially converted former primary school building in the Lachen district. The concept by St. Gallen architect Daniel Cavelti includes two concert halls, rooms for band lessons and rooms for individual lessons. Sound systems and sound insulation were designed by specialists.

All classrooms are connected via encrypted Wi-Fi with broadband internet access, have an acoustic listening station and are set up for audio streaming via AirPlay. A dedicated server with a learning platform serves as a central data repository for digital teaching materials. An iMac is also available as a mobile multimedia station.

Information, know-how and tips are to be collected in one place in the Spartenhaus, where they will be available to all participants at all times and where exchange and creative competition will be encouraged. A team of specialist teachers from the city's music school will continuously teach, encourage and support the up-and-coming talent. Swiss show business greats will also pass on their own experience in workshops and special courses.

The RPC will open on Saturday, August 31, 2013 at 5 p.m. with a ceremony and an official opening of the building. Among others, Swiss guitarist Slädu, drummer and multi-percussionist Orlando Ribar and bassist Daniel Ziegler will perform. During a concert lasting around two and a half hours, various student bands, the Big Band of the Music School of the City of St. Gallen and projects by the teaching staff will also be presented.

For the film "Trapped", a commission from director and screenwriter Philippe Weibel, 40-year-old Thomas Fischer has realized his first complete film score.

The music maintains the tension from the beginning to the end. The carefully selected, repetitive elements also allow the mysticism of the story to be experienced emotionally, according to the justification for Fischer's choice.

The Fondation Suisa awards its Film Music Prize, endowed with CHF 15,000, annually. The decision is made by a jury of experts. The award is presented at the Locarno International Film Festival.

At the media conference during the Locarno Film Festival, the head of the Federal Department of Home Affairs spoke out in favor of developing a national cultural promotion policy. Joint, coordinated measures should do better justice to the new forms of cultural production and consumption.

With the national cultural policy project, Federal Councillor Alain Berset wants to "strengthen the coherence and continuity of the measures taken by all those involved in promoting culture in Switzerland". He advocates closer cooperation between the federal government, cantons and municipalities. He is also striving for better visibility of Swiss culture abroad, greater involvement of all audience groups in cultural life and better equal opportunities for access to culture.

On average, around 3,200 euros per project were raised through crowdfunding in Germany in 2012, while most successful projects in the USA also received less than 10,000 dollars. Actori writes that crowdfunding has not yet been able to generate big money.

However, this form of fundraising represents an opportunity for the independent scene in particular: With a success rate of 42% in Germany and 44% in the USA, almost every second project is realized.

The company sees rules for success for this form of fundraising: unique and exciting ideas that have a strong emotional appeal and from whose realization the supporters themselves can benefit are promising. In addition, the project must be presented as vividly and concretely as possible, but still be easy to understand.

A targeted communication strategy is also important. Ideally, online tools such as Web 2.0 applications and social networks should be combined with traditional offline marketing (flyers, press work, word of mouth, etc.). Regular updates are essential.

A certain size of the network is also crucial for monetary success, as usually only one percent of a community participates financially.

The entire study can be found at:
www.actori.de/fileadmin/Redaktion/Downloadcontent/Publikationen/1301_Crowdfunding.pdf

The City of Biel/Bienne Culture Prize is awarded to individuals, groups of people or organizations for significant cultural achievements. The prizewinner or the work must have a connection to the city or region of Biel/Bienne.

Cultural organizations and interested individuals are invited to submit proposals to the Cultural Commission. The award for cultural merit can be presented to individuals or organizations that have made a significant contribution to the cultural life of the city or region.

The proposals should contain the following information: brief personal details and biography of the nominee, the cultural work of the nominee and the cultural merits of the nominee.

Proposals can be submitted by August 14, 2013 at the latest with the reference "Kulturpreis". Further information and the guidelines for the 2013 Culture Prize can be found at www.biel-bienne.ch/kultur

Selected Bernese theater and dance artists or groups "with a convincing track record are given individual freedom without production pressure to break up their daily routine, to reorient themselves and to expand their skills in the creative, technical or organizational fields".

In 2013, two to three larger further development projects will be supported with contributions of a maximum of CHF 18,000 each (for individuals) or CHF 30,000 (for groups and collectives). In addition, contributions to smaller further education projects are also possible. The complete application documents must be submitted in writing by Thursday, October 31, 2013 at the latest.

More info: www.erz.be.ch/erz/de/index/kultur/kulturfoerderung.html

Johann Baptist Hilber, born in Wil in 1891, reached musical maturity in Lucerne as director of the Frohsinn male choir, the Pauluschor, the municipal mixed choir, the Festwochenchor and as director of the Lucerne Cantonal Choral Society. Among other things, he served on the boards of the International Society for New Music and the International Society for the Renewal of Catholic Church Music. In 1942, together with Walter Strebi, he founded the church music department at the conservatory, and in 1952 the Swiss Church Music School in Lucerne - he was the director of both institutions.

He found his musical vocation in Catholic church music. From 1934 onwards, he had the ideal field of activity for this as the collegiate choirmaster at the Hofkirche St. Leodegar in Lucerne. The music for church services that he composed until 1960 was based on the Renaissance music of Palestrina, Lotti and others. It is harmonically simple and uncomplicated, characterized by a deep, true religiosity. Hilber's works are still an integral part of the repertoire of countless choirs today. The new CD with Ensemble Corund, which the professional Lucerne vocal ensemble recorded this summer, is a testament to their quality.

The CD launch will take place on Friday, August 30, 2013, the 40th anniversary of Hilber's death, at 5 p.m. in the Hofkirche Lucerne. The program will include musical performances by the Ensemble Corund (conducted by Stephen Smith) with Wolfgang Sieber on the organ.

The Baden-Württemberg New Music Network brings together players from the Baden-Württemberg new music scene as well as representatives from universities, teacher training seminars, schools and music schools. They work closely together to develop training and mediation models and make their respective expertise available for their implementation in a collegial and constructive manner.

The aim is to promote and communicate various new music trends in order to anchor them as a natural part of cultural life and make them available throughout the country and in all areas of society.

The deadline for applications for the Winfried Böhler Cultural Foundation's worldwide composition competition ad libitum is November 15, 2013. The exact call for entries can be found online at www.miz.org/details_29150.html.

More info: www.neuemusikbw.de

Sheet music in all forms, for every conceivable type of music, for all instruments and voices: Over 20,000 items can be viewed and leafed through at Froschaugasse 4 in Zurich. In real life. The sales staff, all of whom have a musical background, are on hand to help with any questions. Originally a branch of Notenpunkt AG Winterthur, the store is located in the middle of Niederdorf in historic premises that housed a synagogue in the Middle Ages and are now a listed building.
In addition to music supplies, there are meters of postcards to admire, including, of course, collections on the subject of music. The selection can be reconsidered at a small bar. And the concert cycle After closing time offers small-scale concerts once a month.
If you want to take a look around from home, you can do so on the Homepage do. It provides access to over 300,000 titles.

On Saturday, August 17, 2013, Notenpunkt will be thanking its loyal customers, musicians, neighbors, business partners and publishers with music from 9 am until after 4 pm. Soloists and ensembles of all styles and study levels will perform.

The festival is organized by the "Verein zur Förderung von Basler Absolventen auf dem Gebiet der Alten Musik", which has set itself the task of accompanying and supporting young musicians on their way "from studies to the podium". Young musicians, graduate ensembles from the Schola Cantorum Basiliensis and students from the Basel School of Early Music, meet recognized specialists from all over Europe.
The transition from the Renaissance to the Baroque around 1600 is considered one of the most momentous stylistic changes in the history of music. However, the new was already apparent two to three decades earlier. Progressive tendencies in composition, performance and music theory became more frequent. Many of the almost avant-garde ideas of this musically rich period point to the Baroque, which only came to full fruition in the 17th century.
Mutually illuminating concert programs trace this development. The musical program is complemented by lectures (Silke Leopold on the topic "Five voices for the ego?" or Martin Kirnbauer on the lyre: "An instrument for gods, so to speak"), demonstrations, guided tours of the city and a international musicological conference on the aesthetics of listening in the Renaissance, organized by the Musicology Department of the University of Basel and the Humboldt University of Berlin.

Further information, program and venues:
www.festtage-basel.ch

The Solothurn Music Academy was launched in 1999 and had its first edition in 2000 at Waldegg Castle in Feldbrunnen-St. Niklaus, close to the city of Solothurn. According to a report in the "Solothurner Zeitung", the plan at the time was to run for ten years.

Due to its great success, the series was continued beyond the scheduled time.

"Personnel changes, new spatial conditions at Schloss Waldegg and the fact that the Solothurn Music Academy has been at its peak in recent years" have now led to the decision to discontinue the program, the "Solothurner Zeitung" continues.

This painting by an unknown artist from around 1770 depicts a concert or a full rehearsal with 24 orchestral instruments. It shows not only the musicians with their instruments, but also the notes on the music stands, which are reproduced so precisely that the key and time signature of the sinfonia just played with flutes, oboes, horns and bassoons are recognizable.The sheet provides an example of how large-scale music worked in Mozart's time: for example, how many musicians took part in an orchestral piece, how many of them used the same desk, what types of instruments were used (e.g. oboes and harpsichord), how the bass was scored, what bowing position was usual, whether the keyboard instrument was used with the lid open and, finally, what the non-standardized orchestral arrangement was, i.e. how the instrumental groups were distributed.

The work was previously attributed to the German-British painter Johan Zoffany (1733-1810). However, recent research has ruled out this artist, but an important draughtsman must have been at work.

The drawing, which was most recently in private hands, was first presented to the public in Salzburg in 1991. At the time, it was assumed that the picture depicted Mozart. However, the Mozart connection is now very much in doubt, not least because the sheet is neither signed nor dated. It is on display until the end of October as part of the Mozart portrait exhibition Mozart pictures - Pictures of Mozart in the Mozart residence.
 

The opening concert features masterpieces of romantic chamber music with piano. The harp plays a key role in the second concert. Together with strings, we are whisked away into a world of glittering festivals and fantastic stories. The baroque hour in the Flüeli Chapel will be complemented by works by later composers whose work is directly linked to baroque music. Between Mendelssohn and Mozart, the traditional Sunday matinée features a "trouvaille" from the library of the St. Andreas convent in Sarn, entitled Obwalden. An unknown score from 1821 turned up during the repair of flood damage in the Sarnen convent. Clergymen, music lovers and historians from Obwalden unraveled the mystery surrounding the unknown work. The soloists of the Bavarian Radio Symphony Orchestra Munich will premiere this 200-year-old ode in the Altes Gymnasium theater. This year's guest musicians are all from Switzerland: pianist Benjamin Engeli, Basel harpist Sarah O'Brien and David Riniker, cellist with the Berlin Philharmonic. With Gerhard Durrer (bass) and Armin Würsch (tenor), two musicians from Central Switzerland will also be taking part this year.

Tickets to win

You can win two free tickets for the concert on Wednesday, August 28, and two free tickets for the concert on Friday, August 30. The closing date for the prize draw is Monday, August 19, by e-mail to contact@musikzeitung.ch, Note: Raffle firstClassic.

Program

Wednesday August 28, 2013
7.30 pm, Aula Cher, Sarnen
Friends and rivals
Works by Robert Schumann, Clara Schumann, Johannes Brahms

Friday August 30, 2013
7.30 pm, Aula Cher, Sarnen
For life and death
Works by Arnold Bax, Joaquín Turina, Claude Debussy, Maurice Ravel,
André Caplet

Saturday August 31, 2013
5.00 p.m., Flüeli Chapel, Flüeli-Ranft
Baroque lesson
Works by Johann Sebastian Bach, Eugène Ysaye, Fritz Kreisler, François Couperin,
Eugène Ysaye, Johann Sebastian Bach

Sunday September 1, 2013
11 a.m., Theater Altes Gymnasium, Sarnen
Matinée with aperitif riche
Works by Felix Mendelssohn, Wolfgang Amadeus Mozart, Anonymus
Obwalden (from the convent of St. Andreas Sarnen) World premiere

Information/advance booking:
www.erstklassik.ch
Tel. 041 660 91 18
Concerts 28. and 30.8.: Fr. 35.- (free admission for music pupils and music students)
Concert 31.8.: Door collection
Matinée with aperitif riche, 1.9.: Fr. 58.-
Festival pass: Fr. 110.-
 

The focus of the conference is on the early beginning of instrumental playing and singing as well as on teaching music and movement. The prerequisites, framework conditions and peculiarities of teaching children aged four to ten will be discussed.

The event will start with three input presentations by Stefanie Stadler Elmer (Institute of Psychology at the University of Zurich), Renate Zimmer (Institute of Sport and Exercise Science at the University of Osnabrück) and Madeleine Zulauf (Formation Musique Recherche Zulauf).

Workshops with national and international experts will take place in the afternoon. Participants will explore the various facets of early learning and exchange ideas about children's particular approach to music.

The conference is primarily aimed at professionals, in particular teachers at music and elementary school, managers of these institutions and researchers.

More info: www.hslu.ch/musik-kind

Born in Paris in 1932, Tellart, who wrote standard French works on Schütz and the madrigal, was Chevalier de l'ordre des Arts et des Lettres and a member of the Académie Charles-Cros. His book on Claudio Monteverdi, published by Fayard in 1997, was awarded the Grand Prix de la Critique.

As Radio Suisse Romande writes in his biography, he worked for a long time as a contributor to the Parisian magazine "La Croix - L'Événement". He also wrote for "Diapason", "La Lettre du Musicien" and the international review "Goldberg", which was published in Spain. He also regularly contributed to Radio Suisse Romande and Radio-France.