Every year in September, the Bern Music Festival brings together performers from Bern's music scene. Each festival has a theme. In 2023 it will be "√" (root sign). The festival team is now inviting musicians and organizers to submit project outlines on the theme. The deadline for submissions is March 13, 2022.

Further information on the call for entries can be found under this link.

After a financing model for the project was rejected by the people of Geneva by a very narrow margin of 50.86% in June, the initiators initially designed an alternative model. The foundation has now come to the conclusion that too little support could be expected.

A glass complex near the United Nations was planned as a home for the Orchestre de la Suisse Romande and the University of Music. The Cité concert hall would have had 1580 seats. An alliance of the Greens, the Left and the SVP had formed against the project. The stumbling blocks were the costs, the loss of a manor house and the trees that would have had to make way for the Cité.

"Music is not a thing, but an activity, something that people do." Musicologist and composer Christopher Small uses this almost iconic phrase to explain the meaning of his neologism "musicking". According to Small, the essence of music lies not so much in musical works as in the collective action of a group of people. He therefore considered it necessary to transform the noun "music" into a verb. The resulting neologism has now acquired a far wider range of meanings than the German verb "Musizieren", for example. The international symposium "Musicking Collective", which will be hosted by Bern University of the Arts from 15 to 17 December, will address very different aspects of this dazzling term: aesthetic phenomena and concepts, creative processes and, last but not least, socio-cultural and political frameworks. However, "Musicking" will not only be reflected upon theoretically at the event, but also put into practice.

In the evening program, the HKB is joining forces with the local new music scene. The event "partisans en concert" on December 16 at the PROGR in Bern is a mixture of concert, panel discussion and project presentation: In the first part of the evening, renowned performers will play pieces from the local contemporary music repertoire, including a Swiss premiere alongside tried and tested "classics". The program makes it possible to experience the diversity of contemporary music practice in Bern in terms of both content and form.

In the second part of the evening, a recently launched initiative to found a platform for critical reflection on contemporary music will be presented: In the summer of 2020, a group of people from both practice and theory formed in Bern to revive an echo chamber that had since been shut down. With the discontinuation of the Magazine dissonance/dissonance a strong journalistic voice on contemporary music that has shaped the Swiss discourse for many years fell silent at the end of 2018. The PROGR is now set to symbolically launch a successor project in the form of a new online journal: Under the label partisan notes will soon be launching a web portal for the international publication of content on contemporary music. In this context, members of the editorial team will discuss "Music Journalism 2.0" with colleagues from other genres in a panel discussion.
 

Born in Zurich in 1975, Titus Engel studied musicology and philosophy in Zurich and Berlin, conducting with Christian Kluttig at the Dresden University of Music and is co-founder of the Akademie Musiktheater heute. His international career began at Gerard Mortier's invitation to the Teatro Real in 2011.

The Basel Sinfonietta is a symphonic orchestra specializing in contemporary music. In addition to its own series of six subscription concerts, the Basel Sinfonietta is a regular guest at local festivals such as ZeitRäume Basel and Culturescapes. The Basel Sinfonietta is also one of the cooperation partners of Theater Basel, Kaserne Basel and Kunstmuseum Basel.

The reason given by the cantonal compensation offices: There are currently no measures in force in the cultural sector decreed by the Confederation and the cantons that would entitle to compensation. In the view of the Culture Taskforce, this practice has no basis whatsoever.

Firstly, the argument that there are no current measures that would affect the cultural sector is simply wrong: Mandatory masks, mandatory certificates and the Federal Council's urgent recommendation to minimize contacts have a very direct impact on ticket sales and the economic feasibility of events - in both the cultural and private sectors (company parties, etc.).

Secondly, the timing for such a tightening of measures is in no way comprehensible: In view of rising case numbers and in order to avoid overloading hospitals, the Federal Council decided on new measures, which have already led to a large number of events being canceled again. Cultural professionals and event organizers have largely used up their financial reserves - and the forecasts for the coming weeks and months are pessimistic. It is unacceptable that the income replacement scheme is effectively being abolished at the very moment when it is urgently needed.

Thirdly, such handling cannot be derived from the Covid-19 Act, the ordinance or the current circulars from the Federal Social Insurance Office (FSIO). The fact that turnover in the affected sectors (which includes not only the cultural sector, but also the event industry and gastronomy) has not yet recovered is a direct consequence of the measures imposed in recent months to contain the pandemic.

More info: https://taskforceculture.ch
 

The city of Aarau is also constantly developing in the cultural sector, writes the city in its media release. In addition to the successful opening of the Alte Reithalle in October 2021, the merger to form Bühne Aarau and the choice of location for the new KIFF building, festivals such as CIRQU and fanfaluca have become established in recent years. Today, various young event organizers contribute to a diverse cultural offering with their projects.

The evaluation of the 2014 cultural concept confirms the positive development of Aarau's cultural life and highlights the need to consolidate various topics. Further development options are to be developed and explored in greater depth in the coming year. The aim is to develop a cultural strategy covering two legislative periods by the end of 2022 that reflects the needs of cultural professionals and cultural event organizers in addition to the remit of the Culture department.

Schulz is currently Artistic Director of the Berlin State Opera Unter den Linden. He will take up his post in Zurich at the start of the 2025/26 season on August 1, 2025. In the interests of continuity, the Bavarian-born director will be available for an organic handover and induction from August 1, 2024, the opera house writes.

Matthias Schulz was born in 1977 in Bad Reichenhall (Bavaria) and studied piano in Salzburg and economics in Munich. He has a long-standing relationship with the Salzburg Festival. From the age of 22, he worked in various areas and was appointed project manager, concert and media officer and, in 2009, head of concert planning.

In 2012, he moved to the Mozarteum Foundation in Salzburg as Artistic Director and Commercial Director. In addition to programming the festival and concert programs and other responsibilities in the other two core areas of the foundation, science and museums, his activities as head of finance and human resources also included fundraising, marketing, press relations and media productions.

Born in 1996, Alice Burla was one of the youngest students ever accepted to the Juilliard School; from 2013 to 2016 she studied with Dmitri Bashkirov at the Escuela Superior de Música Reina Sofía in Madrid and is currently studying with Claudio Martínez-Mehner and Anton Kernjak in Basel.

Founded in 1995, the Zofingen Foundation supports music students at the highest level of training with a view to obtaining the Specialized Master Soloist Diploma (formerly the Soloist Diploma). According to the foundation's statutes, the focus is on creating opportunities for students to work with an orchestra.

Stephan Mohler works in Guangzhou (China) at "Pearl River", the largest piano manufacturing company in the world. The master piano maker manages the production of the company's own high-end brand "Kayserburg-Artist Series". He helps to develop the premium instruments, has been perfecting them with passion for eleven years and knows them down to the last detail. At "Kayserburg", Swiss piano making and craftsmanship come together with the largest and most modern factory in the piano industry worldwide. Now Mohler is coming back to Switzerland exclusively for a visit to the "Musikladen Bern" and sharing his knowledge with interested piano lovers, pianists and piano makers.

How did the Swiss pianist's career come about? How can an instrument help a pianist to develop optimally? And what does Stephan Mohler think about the fact that his instruments are now also being sold in Switzerland?
 

Photo: zVg

Stephan Mohler in Guangzhou at Pearl River

Mr. Mohler, you have been a piano maker for over 45 years and have had a remarkable career. Where did you work before and how did you get your job at Pearl River in China?
I started out as a carpenter at the Stadttheater Basel. This was followed by six years as a tuner in the specialist trade and then ten years as operations manager at C. Bechstein in Berlin. Finally, I worked for sixteen years in the international concert department of a renowned music store in Bern.

Pearl River and I came together in many small steps. We met at music trade fairs, got talking, and one day Pearl River asked me if I would like to start the "KA" project with them, the artist series of the "Kayserburg" (KAX) brand. This was a unique professional opportunity. It wasn't about refining cheap goods, but about making something good from scratch. I was excited by the idea and was therefore delighted to accept.

Is there something typically Swiss about the design of the "Kayserburg" upright and grand pianos?
The construction concept of the piano went through a long development until it was perfected in the century before last. An instrument must sound good, play well and blend in very well with the home where it is usually placed. The Swiss aspect of our design is the precision that is evident in the structure. In addition, the external shape of the instruments was designed in such a way that a "bulky" piece of furniture like a piano can appear as light as possible and blend harmoniously into the room. I will be explaining all this in detail on December 11 at the "Piano Day" of the Musikladen Bern.

Since fall 2021, "Kayserburg" pianos have also been sold in Switzerland. The first upright and grand pianos are available to try out in the Musikladen Bern. Are you excited about this premiere?
Up to this point in the presentation, we have gathered ten years of experience and trained the KAX team. The KAX has been a great success in China and the USA for some time now, and I hope that Swiss pianists will also be fascinated by its sound and playing style. I am looking forward to these moments. I am also looking forward to the reactions that I will be able to witness in person on December 11. It's always exciting for me when people who are interested in pianos try out the KAX models I helped design for the first time.

How do you achieve noticeable and audible results in the quality of a premium piano?
A premium piano has a very dynamic and balanced sound. The pianists can create many "colors" with the precise playing style. That's what good music is all about.
In addition, a good instrument is sturdily built and provides good tuning stability. The repeated and highly precise regulation in the factory is clearly noticeable and encourages practicing. The PR2.0 hammerhead with Wurzen AAA felt, for example, has been specially developed for our instruments. Its timbre is very special and the intonation is stable for a very long time. These details will also be presented in detail at the event in the Musikladen Bern.

How could interested pianists, piano lovers and piano makers benefit from tips and background information from you?
At the event on December 11, I will be presenting the new instruments with all their special features. I will also be giving a presentation on the world's largest piano factory from my perspective. The most important thing is that the instruments can be played and compared, from the KAX1 to the KA180 grand piano. I look forward to answering questions, getting to know people and explaining many details in detail.
 

Photo: zVg

Stephan Mohler

The laudatory speech honors Tina Turner for her "unique musical and artistic life's work". She has successfully asserted herself as a woman in a previously male-dominated field, breaking through established boundaries and stereotypes with her artistic work and touching many people with her authenticity and artistic charisma. Turner, the laudation continued, has shown an exemplary way out of multiple discriminatory circumstances with her art and is therefore a role model across generations, social classes and educational backgrounds.

Tina Turner was a member of the duo Ike and Tina Turner from 1960 to 1976, which had a lasting impact on rock history. From the early 1980s, she pursued an internationally successful solo career as a singer and later also as an actress.

Jan Henric Bogen will take up office in August 2023 for the 2023/2024 season; he will continue in his role as Opera Director. At the end of the 2022/2023 season, the current Managing Director Werner Signer will leave Konzert und Theater St.Gallen for reasons of age.

Jan Henric Bogen studied law and musicology in Heidelberg and Cologne. He then worked as a musical theater dramaturge at Theater Hagen, as an artist's agent in Vienna and as a consultant and head stage manager at Staatstheater Nürnberg. He has held teaching positions at the University of Bayreuth, the Bavarian Theater Academy August Everding and the International Opera Academy in Ghent. From 2016, he was Deputy Artistic Director of Opera Vlaanderen in Antwerp and Ghent. Jan Henric Bogen has been Opera Director at Theater St.Gallen since the current season.

Michael Künstle completed his studies at the Zurich University of the Arts (ZHdK) in jazz and composition with an MA specializing in media composition. He attended additional studies with film composer and orchestrator David Angel (John Williams) and film composer Henning Lohner (Hans Zimmer) as well as master classes with film composer Alexandre Desplat and jazz composer Maria Schneider. While still a student, he won the Golden Eye Award for Best Film Music at the 1st International Film Music Competition of the Zurich Film Festival.

The Rolf-Hans Müller Prize for Film Music has been awarded every two years since 1992. In 2020, the award ceremony was postponed for a year due to the coronavirus pandemic. The prize, which is organized by Südwestrundfunk, is sponsored by the Rolf-Hans Müller Foundation Baden-Baden and MFG Medien- und Filmgesellschaft Baden-Württemberg. Rolf-Hans Müller was closely associated with the former SWF (now SWR) as a conductor, composer and arranger for many years.

Sun and Deutsch teach in the Master of Arts in Specialized Performance, Contemporary Music, and the newly structured Master of Arts in Specialized Performance, Open Creation. Sun starts in February, Deutsch in September.

Sarah Maria Sun is one of the most outstanding personalities on the contemporary music scene. Her repertoire includes more than 1000 works from the 16th to the 21st century, including 350 world premieres. She is a regular guest at renowned festivals, opera houses and concert halls around the world. This summer, for example, she took on the leading role in Luigi Nono's Intolleranza 1960 at the Salzburg Festival. For her portrayal of complex female characters such as the double character Elsa/Lohengrin in Salavatore Sciarrino's monodrama Lohengrin (2017) or Gwen in Philip Venables' 4.48 Psychosis 4.48 (2019), she was nominated as Singer of the Year.

Born in Tel Aviv in 1978, Deutsch is particularly known for his work in the field of contemporary music. He is the founder and artistic director of the Nikel Quartet and a frequent guest performer with the best-known European ensembles and orchestras in the field of contemporary music. He plays regularly with the ensembles Klangforum Wien and Musikfabrik.

New music has always played an important role under Artistic Director Michael Haefliger at the Lucerne Festivalalso in the main summer program. For many years, Pierre Boulez was the dazzling personality of the Academy, in which young musicians explored the interpretation of innovative pieces. Today, Wolfgang Rihm is the artistic director of the Academy.

For this unique community of performers and those interested in the Academy, the Forward Festival has now been launched from November 19 to 21, which is emphatically "young" and "future-oriented". While the piano festival previously featured piano stars, the head of the contemporary section, Felix Heri, and his dramaturge Mark Sattler are now looking for listeners who are not interested in big names, but in new spatial concepts, interaction and electronics.

This bold move towards the future also includes the founding of the Lucerne Festival Contemporary Orchestra (LFCO), which focuses on 20th and 21st century scores and also performs at this new festival in addition to concerts in the summer. As international as the orchestra is, the Lucerne Festival still seeks contact with local organizers such as the Forum Neue Musik Luzern and the Kultissimo children's culture festival of the Central Switzerland regional office of the Pro Juventute Foundation.

A children's concert took place on Sunday at 12 noon in the rehearsal hall of the KKL, and not everyone realized that they had to gather at the artists' entrance beforehand. But in the end, all those who were curious were in the right place. The instruments on display looked promising. A grand piano, a marimba and a double bass, a stool to sit on and play the drums, and lots of colored plastic tubes on the floor in front, tuned to tones according to color.

The 15 children sat in a semicircle on the floor, their parents behind them on chairs. Everyone was immediately captivated by the three dynamic musicians Helga Karen, Maggie Hasspacher and Xizi Wang. Their playful variations on the song All the birds are already here was great. Then the pipes and rattles were distributed among the audience, everyone imitated the prescribed bolero rhythm, it got louder, but also quieter again. A clever display of musical creativity that the adults also enjoyed.

New music has conquered new spaces in many places; it is often played in art halls or outside in public squares. In the KKL, the Kunsthaus is the perfect venue. On Saturday at 4 pm, members of the LFCO improvised to the airy installations of Argentinian-Swiss artist Vivian Suter.

Or the performance artist Winnie Huang, who invited me to 15-minute one-to-one encounters throughout the festival. I enter her box, which is draped with black cloth, Winnie Huang sits on a chair and I, the visitor, sit opposite her. It is eerily quiet and dark in here, the spotlight focuses on her hands, her fingers begin to move slowly. I follow her delicate movements, her wandering gaze, every detail is perceived very clearly - an experience in itself.

Does an open-air event at 10 pm on a cold November night really make sense? The opening concert on Friday evening, which took place on the terrace of the KKL, was hardly attended by any more people. Too bad for the original piece Workers Union by Louis Andriessen (1939-2021), which he wrote "for any ensemble of loud-sounding instruments".

The four more "conventional" concerts with the LFCO, conducted by Mariano Chiaccharini and Elena Schwarz, then took place in the main hall. A surprising number of female composers were represented in these programs, including such renowned musicians as Liza Lim, Pauline Oliveros, Rebecca Sounders and Olga Neuwirth. Neuwirth's spectacular film music project Construction in Space for four soloists, four ensemble groups and live electronics caused a sensation on Sunday evening.

The spatiality of the KKL concert hall and the interaction with the audience played an important role in all the compositions presented, especially in the works commissioned by the Lucerne Festival, which were premiered in the 3rd concert. Patricia Martinez (b. 1973), for example, had her ensemble piece Field the audience hummed a low note. And Dahae Boo (born 1988) surprised the audience with her dramaturgically dense piece D'où à oùin which the solo cellist on stage also interacted gesturally with the six instrumentalists distributed around the room.

Not only was this concert varied and originally conceived, the Forward Festival attracted an astonishing 1,300 visitors to its very first edition. With its different formats and playful "events", it liberates new music from its exclusive circle.

Kristina Hammer has been the owner of Hammer-Solutions since 2010 and, according to the company's website, previously worked internationally for more than 15 years in a leading position in marketing and public relations. In her early career, she worked for Gerngross, Austria's largest department store chain in the 1990s. From 2000, she worked for seven years in England for the Premier Automotive Group (Aston Martin, Jaguar, Land Rover, Lincoln, Volvo) and from 2006 also for the parent company Ford.

From 2007 to 2009, she headed the global marketing communications team for Mercedes-Benz passenger cars at Daimler's headquarters in Stuttgart. At the end of the same year, she founded her own consultancy firm Hammer-Solutions, an international brand consultancy based in Herrliberg/Zurich. Kristina Hammer is/was also a member of several administrative and advisory boards, including that of Stöckli Swiss Sports AG, the largest Swiss ski manufacturer.