With the German Musical Instrument Award, the founder, the Federal Ministry of Economics and Technology, emphasizes the importance of craftsmanship for the musical instrument industry and the German economy. The prize has been awarded for 22 years during the International Music Fair, the world's largest trade fair for musical instruments and accessories. This year it will take place in Frankfurt from April 10 to 13.

The two categories in which instruments are awarded prizes change every year. This year, the winning instruments come from the woodwind and brass categories. The 2013 winners in the tenor horn category are Gebr. Alexander Rhein, Musikinstrumentenfabrik GmbH, Mainz (Rhineland-Palatinate) for the "Tenor Horn Alexander 146 GL" and in the Eb clarinet category Schwenk & Seggelke, Bamberg (Bavaria) for the "Eb Clarinet Model 2000".

Historically, the tenor horn closes a gap between the low brass instruments such as the tuba and the low trumpets. The valve horn is mainly used in military music, folk music and brass music. In the clarinet family, the Eb clarinet is the one with the highest pitch. This is visually noticeable due to the shortness of the instrument. Eb clarinets are considered extremely difficult to play due to their special intonation. They are traditionally used in symphony orchestras. Just how lively the musical instrument industry is can also be seen in the excellent manufacturers.

The company Gebr. Alexander has been in existence for more than 200 years. During this time, pioneering developments have been made in the field of brass instruments and the company has worked with important musicians and composers, including Richard Wagner. The second prize-winner, the Schwenk & Seggelke master workshop, was only recently founded. The company has been in existence since 1995 and offers both instruments as historical replicas of the 18th and 19th centuries and modern clarinets that can be made to customer specifications.

www.musikmesse.com
 

One of the band's original ventures was their dilettantism. Playing instruments? Yes. Mastering instruments? Absolutely not. As a result, their earlier records were simple and yet daringly arranged. Over the years and actually against their will, Les Reines Prochaines have acquired a certain degree of professionalism. This is also because the previously frequently changing line-up has remained in place since the turn of the millennium. New songs such as the Balkan-sounding Sunday Instrumental or Of fennel and sausage, an over-the-top pop number in the style of early Nina Hagen, are if not virtuoso, then skillfully played. Nevertheless, the 21 tracks on Blood anything but standard fare.

This is not least due to the fact that Les Reines Prochaines are about more than just music, namely performance art. Their sources of inspiration are the everyday, the mythological and the physical, pop and folklore or childhood, write the Basel-based group on their website. This manifests itself in weird singing, Dadaist moments, poems about stolen hedges (sic!) or stories about a virus. Les Reines Prochaines continue to surprise. Less through the still minimalist music than through their narrative strength. This is unbroken. Which makes the quartet's lyrics particularly captivating to listen to.

Les Reines Prochaines: Blood. Michèle Fuchs, Fränzi Madörin, Muda Mathis, Sus Zwick. Distribution: www.unrecords.me

Yvette Théraulaz is being honored "for the creative originality of her passionate and sensitive acting". For over 50 years, the actress has shaped the theater scene in French-speaking Switzerland - both institutional and independent - and extended its sphere of influence to the stages of France and Belgium through plays in those countries.

Parallel to her theater career, Yvette Théraulaz has staged numerous song performances, in pairs for "À table" with Pascal Auberson (1996), in a group for "Perdants magnifiques" directed by Anne-Marie Delbart (2000) and more than ten times alone, such as for the performance "Histoires d'Elles", which is entirely dedicated to the memories of her mother and her own emancipation through feminism (2007).

The official award ceremony for the Hans Reinhart Ring 2013 will take place in the fall. The time and place of the award ceremony will be determined at a later date.

Three three-year grants for musicians and groups amounting to CHF 15,000 per year for musicians and CHF 30,000 per year for groups as well as two grants for compositions amounting to CHF 10,000 will be awarded.

Three to five grants of up to CHF 25,000 per project are available for setting up studios for contemporary music and three grants of up to CHF 20,000 per project for collaborations between professional and amateur musicians.

Finally, three tutoring projects for aspiring artists will be funded in the amount of CHF 2000 to CHF 5000. Applications must be submitted by April 15, 2013. More information: www.vs.ch
 

If concert life had long been dominated by Bach cantatas, the SMZ has reported on three series of performances in recent years: in the church in Trogen under the direction of Rudolf Lutz (9/2009, p. 14 f.), in Basel's Predigerkirche, initiated by Jörg-Andreas Bötticher (9/2011, p. 24), and in Lucerne's Franziskanerkirche under Franz Schaffner with modern instruments (3/2011, p. 11).

A handsome volume with all the introductions to the works was published to mark the final concert in Basel. The initiator, who works as organist at the Predigerkirche, was able to perform concerts with a consistently soloistic line-up, as propagated by Joshua Rifkin. The highly readable texts combine historical expertise with emotional playing practice and therefore provide a more direct approach to the music than the certainly commendable books (by Alfred Dürr, Konrad Küster and Martin Petzoldt, among others). The introductions come quite close to the lively, well thought-out ones by Rudolf Lutz and Pastor Karl Graf, which can be followed on DVD. Two examples from Basel to illustrate this: the Weimar Christmas Cantata 63 is particularly richly scored, including four trumpets. Dagmar Hoffmann-Axthelm describes the performance venue, the castle church of Weimar, called "Die Himmelsburg" (with illustration). The location of the musicians around the organ on the third gallery was very limited, so that Bach scholars have already suggested that the performance was probably moved to another location. For soloists, however, the available space was sufficient. - For Advent Cantata 61, Bötticher describes not only the artistic musical arrangements but also Bach's response to the text: During the minimally scored da capo aria Open up For example, in the middle section the character changes completely, even the time signature, to portray the blissful mood of the heart.

How beautifully the morning star shines. Johann Sebastian Bach's sacred cantatas. Introductions to the works and documents of the complete performance in Basel, ed. by Albert Jan Becking, Jörg-Andreas Bötticher, Anselm Hartinger, 690 pp. hardback with 86 illustrations incl. photo documentation, Fr. 48.00, Schwabe Verlag, Basel 2012, ISBN 978-3-7965-2860-6

Individual lessons are no longer the only form of learning when it comes to imparting musical knowledge and skills. Learning in groups and playing in ensembles expands the variety of methods right from the start and makes musical learning more colorful and attractive.

The Bern University of the Arts is now offering the CAS Collective Forms of Music Making. This continuing education course provides information about the diverse possibilities of musical work in school classes, groups, ensembles and orchestras. Participants learn how to initiate and set up a new ensemble or how to further develop an existing formation artistically. The course also teaches ensemble management, arranging suitable literature, solid fundamentals of conducting technique and aspects of concert pedagogy.

Detailed information:
http://www.hkb.bfh.ch/de/weiterbildung
 

"A good music film tells the audience a story and opens up a new world for them," explains Michael Spahr, co-organizer of the Norient Festival shortly after the end of the film nights at the Reitschul cinema in Bern. "Every year we receive dozens of submissions of music documentaries. Many of them follow the same TV pattern: Interview with the musician, concert excerpt and interview again. A real story is rarely told. But if the story is exciting, even the music portrayed can be boring," summarizes the video artist and journalist. The agony of choice seems to have paid off: The fourth festival edition of the Bernese online network for local and global music and media culture Norient from January 10 to 13 not only received a captivating media response in the run-up, it also impressed on the evenings themselves. And: it told stories that got under the skin.

Uncommented atrocities
In the disturbing movie Until the Light Takes Us (USA/Norway 2008), directors Aaron Aites and Audrey Ewell turn their attention to black metal, a musical genre of Norwegian origin that is unparalleled in its brutal and cold expression. With its loud and gloomy aesthetic, black metal is an alternative to the seemingly perfect model democracy of Norway. For the recordings, a headset is often used instead of a condenser microphone, the voices croak and scream. Everything should sound as bad as possible, as one musician describes the style in the film documentary. The niche genre came into the media spotlight in the early nineties. This was due to churches being burnt down, suicides and murders associated with Norwegian black metal groups.

Varg Vikernes, one of the film's two protagonists, has been in Trondheim's maximum security prison for over 20 years. With a tremendous calmness of mind, he talks about arson and the murder of his rival and expands on his right-wing extremist world view. The directors leave the deeply alienating statements uncommented and promptly reap criticism. Aaron Aites, who was present at the festival, replied: "I shouldn't have to comment on the fact that a murder is unacceptable, that speaks for itself."

"A stream flows through the factory" is the result of a collaboration between the artist duo Baggenstos/Rudolf and violinist Davni Ledergerber. The video was created especially for the exhibition "die fabrik ruft" (the factory calls) in the former cement factory site in Brunnen, Schwyz (Sept. 2012). It was presented on a flat screen suspended on wire ropes over the abyss of the hall. The sound could be heard through headphones. This had the striking effect that the sounds of spectators and other acoustic sources in the exhibition seemed to fade out. As soon as you put on the headphones, you found yourself in the empty factory hall with the sounds of the violin. Structural and acoustic architecture enter into a dialog. One reason why the Sonata No. 1 in G minor BWV 1001 (1st movement) by Sebastian Bach was chosen. 

The video lasts 5′ 17"; the DVD can be ordered from: 
www.baggenstos-rudolf.ch

Swiss musicians, bands or independent labels can apply. The application should cover the complete production of an album. This includes the development of a new repertoire, studio recording, mastering, physical and/or digital release and international distribution. 

The release must be made by an independent label that can guarantee broad international distribution. First-time productions will not be considered. The decision is made by a jury.

If the decision is positive, part of the contribution will go to the musicians and part to the label for the international promotion of the album. 

More information on the conditions of participation can be found at: www.prohelvetia.ch

My wish for more songs by Isabelle Aboulker, expressed on the occasion of one of my last reviews (SMZ 12/2010, p. 35), has been fulfilled: A collection of 16 fables by La Fontaine has been published by Notissimo Editeur (distributed by Alphonse Leduc).

Isabelle Aboulker pulls out all the stops in traditional harmony with changes of meter and tempo to give the trotting animal world a voice. The hare is afraid of staccato, the frog puffs itself up to bursting point in ascending C major, and so on. The speaking voice is often used - especially to place a punch line - which expands the fables into melodramas.
The songs are well suited to the voice throughout, but a quick mouth, comedic flair and impeccable French are required for a successful performance. The demands on the accompaniment lie in the area of grotesque background music and rhythmic flexibility, less in the level of pianistic difficulty.

Unfortunately, the font of the vocal part and especially the text is rather small, so the only option is to memorize it! In addition, you stumble across all kinds of printing errors such as missing stems or dots in the otherwise cleanly designed piano part.

Isabelle Aboulker, La Cigale et le Pot au lait, 16 mélodies pour voix moyenne et piano d'après les Fables de Jean de La Fontaine, NT21970Z, € 18,20, Notissimo Editeur/Alphonse Leduc, Paris 2012

Friedrich Theodor Fröhlich lived from 1803 to 1836 and was one of the most renowned musical personalities in Aargau during this time. His Passion Cantata was first performed on Good Friday, April 1, 1831 and is very extensive and demanding in its compositional style as well as in its choral and soloistic scoring, comprising no fewer than 21 movements. An extensive overture opens the musical action. Bachian coloratura is already used in places in the opening chorus. Number 5 is written for female choir. A three-part small choir and a tutti choir are required. Quartet no. 9 calls for two solo tenors, two solo basses and a four-part male choir. Arias are provided for all solo voices. The duet for alto and tenor is specially scored. The instrumental writing is also very demanding, especially in the recitatives and arias. The edition published by Cantate Domino in Fleurier was made possible thanks to the support of Swisslos Canton Aargau.

Theodor Fröhlich, Passions-Cantate, texte de Abraham Emmanuel Fröhlich, partition chant-piano, CD 1193, Fr. 23.50, Cantate Domino, Fleurier 2011

Bach and Handel in one Passion
In the course of his life, Johann Sebastian Bach produced three versions of the St. Mark Passion from "Kaiser". The third was composed around 1747; he was already sixty years old at the time. It was performed at the Good Friday service as a pasticcio with seven arias from Handel's Brockes Passion performed. The term "pasticcio" refers to the practice of combining pieces of music by several composers to create a new work. The individual parts of the work can appear unchanged or edited, adapted to a new context or even newly composed for a specific occasion.

The present Passion is in two parts and very extensive. The basso continuo consists only of a figured bass. The edition accepts the fact that it is not possible to clarify the details of the dynamic and articulatory design, as the instrumental parts were already 35 years old in 1747 and the vocal parts were notated 20 years earlier. The work has 39 numbers; the score is one hundred pages long. In today's usage, a performance for a church service would go beyond all norms.

"Emperor" St. Mark Passion as a pasticcio by Johann Sebastian Bach with arias from George Frideric Handel's "Brockes Passion", for soli, choir, 2 oboes, 2 bassoons, 2 violins 2 violas and b. c., edited by Christine Blanken; score, C 35.502/00, € 69.90; piano reduction, C. 35.502/03, € 24-50; Carus, Stuttgart 2012

Due to its popular Microjazz-series, the composer, arranger and didact Christopher Norton has become very well known and probably needs no further introduction. Under the title Rock & Pop Piano Basics is another teaching book that aims to introduce young piano players to the 20 most important current pop styles. Each style (from pop/rock ballad to country ballad and indie hop to funk, blues shuffle or disco, etc.) has its own chapter, with the level of difficulty increasing continuously. The 20 units are carefully structured and provide learners with the necessary tools to express themselves musically. This includes elementary aspects such as chords and their inversions, the most common keys, intervals, different modes, voicings and rhythm patterns.

The theory is always taught with a lot of practical relevance and applied to playing exercises. At the same time, the examples recorded by the composer on the accompanying CD help to form an idea of the sound. Each piece or chapter is accompanied by a groove track that supports the elementary playing and tapping exercises as a rhythm section (guitar, bass, drums). The following play-along and performance tracks allow us to immerse ourselves further in the music and if you want to listen even more, you can use the additional listening suggestions (not on the CD). This piano workshop has a very practical structure and can be a useful guide and companion for anyone who has already achieved a certain level of playing ability but would like to broaden their stylistic and theoretical horizons.

Christopher Norton, Rock & Pop Piano Basics, The Piano Workshop for Blues, Funk, Gospel, Hip-Hop and 16 other popular music styles, BH 12340, with CD, € 19.99, Boosey&Hawkes, London 2011

The nominees include Patent Ochsner, rapper Stress, Romand Bastian Baker, dance act Remady & Manu-L and Pegasus frontman Noah Veraguth. The international acts nominated are Lana Del Rey, Die Toten Hosen and Muse.

The office of jury president is deliberately being left vacant this year due to the passing of Claude Nobs. Christian Hubschmid will chair the jury ad interim.

The Swiss Music Awards are taking place for the sixth time and will once again be hosted at the Schiffbau in Zurich. The organizer is Press Play. The event is supported by IFPI Switzerland and Suisa, among others.

More info: www.swissmusicawards.ch

Irène Schweizer was born in Schaffhausen in 1941 - she has been the figurehead of Swiss jazz for almost half a century.

"Artistic and personal integrity, her friendly nature, her creative restlessness, her organizational talent, her versatility and her presence in the most diverse associations and of course, above all, her development as a pianist" made her one of the most exciting figures in jazz, writes the PdSK.

In 2011, she received an ovation from the audience at the Zurich Tonhalle, whose grand piano was opened up to jazz for the first time for her solo performance. In this concert, Irène Schweizer played compositions by others as well as her own.

Picture: Angelina Evans commons.wikimedia.org

Müller is co-founder of the B-Sides Festival Lucerne. After graduating with a Master of Law from the University of Lucerne, he worked as co-director of the Swiss Dance Festival at Reso - Tanznetzwerk Schweiz. In addition to his local network in the music scene, he can count on national contacts in the dance and theater world.

Max Aschenbrenner, the previous artistic and operational director, will continue as operational director until the end of March. The overall management is to be divided between two heads. The search for the operational management will continue.