Vienna, around 1910: there is a fascinating atmosphere characterized by diversity, by tensions, also by an aesthetic "simultaneity of the non-simultaneous". Born in Neuhausen, Switzerland in 1865, Robert Gund was drawn to the great Austrian music metropolis as a young man. He became known there primarily as a composer of songs - songs that bass-baritone Christian Immler and piano accompanist Helmut Deutsch now present.

Gund did not join the "new tone" in Vienna. Songs like Three gypsies, Tanderadei or A dream can be classified as post-romantic in terms of style and content; there are echoes of Franz Schubert's lieder, to which Gund's songs are certainly equal in quality. There is not a hint of gimmickry to be heard. Everything is carefully worked out in its place. Gund creates enormously dense miniatures, sometimes lasting one minute, sometimes four. And with the help of the two interpreters, he succeeds in one thing above all: he creates beautiful, but sometimes also sad and melancholy atmospheres.

Immler and Deutsch combine Gund with the less well-known composer Wilhelm Grosz, who was around 30 years younger. Grosz is a colorful figure. He played an inglorious role as a troublemaker during a performance of Anton Webern's string quartets. Later, the "stylistic chameleon" - as he is described in the booklet - devoted himself extensively to jazz. His songs oscillate between impressionistic mood pictures and deliberately entertaining. It is easy to imagine that Frank Sinatra, Nat King Cole and even the Beatles adapted some of Grosz's melodies when you listen to the English-language piece Candles in the Sky listens to.

Immler could have enriched his academically "clean" tone in Grosz's pieces at one point or another with something more lively and jazzy. All in all, however, this production is far more than just a recent excavation of so-called "minor masters". It is high art combined with special insights into a very vital contemporary event.

Be Still My Heart - Songs by Robert Gund and Wilhelm Grosz. Christian Immler, bass-baritone; Helmut Deutsch, piano. Alpha Classics ALPHA1117

The news went through the world press. In the spring of 2024, the Morgan Library & Museum in New York made an extraordinary discovery while sifting through an estate: a previously unknown waltz in A minor, written by Chopin himself. And "most likely composed by himself".

The Henle publishing house did not hesitate for long and has now published the short piece together with a facsimile in the original size. It is astonishing to discover that the autograph is obviously only the size of a postcard! An extensive afterword by editor Jeffrey Kallberg traces the origins of this astonishing find and comes to the conclusion that this manuscript was originally intended as a gift. Chopin occasionally delighted his acquaintances with such gifts.

A few oddities are noticeable when playing through. The first bars sound anything but inviting. Harsh dissonances already lead to an almost brutal outburst in triple forte in the 7th bar (rare in Chopin). The actual waltz then begins, although it has more the characteristics of a mazurka. Strangely, the composer writes a 16th-note triplet three times here, which should actually be notated in quavers. An oversight? And the dissonances from the beginning echo again and again. This is also the case at the end of the waltz in bar 24. If there were a dacapo, it could therefore be extended into an endless round dance, because the beginning and end are so closely linked.

If the short piece was indeed intended as a dedication, this gift certainly had a bittersweet note. Perhaps this is an indication of Chopin's authorship?

A word about the fingerings for which Lang Lang is responsible. It is not exactly a sign of great care when absolutely identical passages (such as bars 2 and 4) are marked with different numbers. Other indications (such as for the cadenza at the end) are also surprising. The publisher should have kept a closer eye on the famous virtuoso ...

Frédéric Chopin: Waltz in A minor with facsimile, edited by Jeffrey Kallberg, HN 1303, € 10.00, G. Henle, Munich

On August 1, changes in the management of the Swiss Music Council SMR came into effect. Tom Wiederkehr replaces Management Sandra Tinner. The already at the Delegates' Meeting on April 4 elected new PresidentNational Councillor Stefan Müller-Altermatt, succeeds the previous President Rosmarie Quadranti.

Several new Board members were also elected at the delegates' meeting. This means that the Management Board as follows:

Stefan Müller-Altermatt, Chairman
Yvonne Glur-Troxler Vice-President and Co-Head of the Laity Division
Luana Menoud-Baldi, Co-Head of the Laity Division
Rico Gubler, Co-Head of Education / Research / Science
Edith Stocker, Co-Head of Education / Research / Science
Diego Dahinden, Co-Head of the Music Industry / Legal Division
Noah Martin, Co-Head of Music Business / Legal Affairs
Davide Jaeger, Co-Head of the Professional Division
Marlon Mc Neill, Co-Head of the Professional Division

At its first meeting, the newly constituted Board of Directors unanimously elected Yvonne Glur as Vice President.

At the same meeting, the Board also decided to close the SMR office in the Haus der Musik in Aarau. Tom Wiederkehr will take over the Office from Basel (his place of residence). However, the SMR can still be contacted by post and telephone at its previous address and telephone number:

musikrat.ch/contact/

Thomas U. Wiederkehr graduated from the University of Basel in the early 2000s with a Master's degree in Marketing and Business Administration. He then worked in communications and advertising for almost two decades. In his agency work, he accompanied various symphony orchestras, music, theater and dance festivals as well as industry associations in the cultural scene. In 2009/10, he completed a degree in technology and growth management at the University of St. Gallen. He also works as a freelance journalist and columnist.

 

On July 4, the Academy of Fine Arts in Warsaw awarded the "outstanding Swiss graphic designer, educator and promoter of culture" Niklaus Troxler the title of Doctor honoris causa.

Niklaus Troxler was born in Willisau/LU in 1947. After completing his education in Lucerne and working in Paris, among other places, he ran a graphic design studio in his home town, but also organized jazz concerts. In 1975, he founded the annual, internationally oriented Willisau Jazz Festival, which soon became an important part of the European music scene. In 2010, he handed over the reins to his nephew Arno Troxler.

He designed posters for concerts and the festival, which caused a sensation and were widely recognized. The announcement from the Republic of Poland on the award of the honorary doctorate states: "Troxler's work combines the precision of the Swiss school of design with the spontaneity of improvisation. His visual works reflect musical structures. In recent years, he has experimented with performative art - for example with live compositions using adhesive tape during jazz concerts - an impressive example of his philosophy, in which art and music communicate with each other in balance."

Media release of the Republic of Poland

Willisau Jazz Festival

 

The white tower rises above the village of Mulegns with its small population: the latest 3D technology in the middle of a narrow mountain valley, reminiscent of old Graubünden tradition, namely in the style of a confectioner. Innovation and the past in one, creating a sense of identity - and also completely different from what is otherwise popular in the culture and music scene. The Tor alva, inaugurated on the 20th anniversary of the Origen Festival, is a powerful symbol.

The beginnings of this festival have almost been forgotten, but they were also spectacular. Giovanni Netzer, initiator and spiritus rector of Origen to this day, made the old castle in the village of Riom, high at the entrance to the Surses, suitable for the stage. There he staged musical theater plays that were often inspired by biblical themes, but rethought and satirized them with a commedia troupe that roamed the countryside. It was not the urban, often hyperactive theater of the big city stages, but a restrained, sometimes almost static, at first somewhat old-fashioned representation, characterized by the ambience of the performance venues.

The stories of the returnees

Netzer relied on such peculiarities. Firstly, in terms of personnel: an artistic family soon developed around him, for example with managing director Philipp Bühler, who has been working behind the scenes for years, with conductor Clau Scherrer, who has left his musical mark on many performances thanks to his vocal ensemble, and finally with the colorful, golden and flowery costumes and textile outfits: Martin Leuthold, fabric designer and former art director of the Schläpfer company in St. Gallen, designs them; they are tailored and finished in Lucia Netzer's studio in Riom.

On the other hand, Origen focused on the special features of the valley and the region: the existing monuments, the old churches, houses and hotels, the landscape, the personalities who lived here or passed by, and finally the history of Graubünden. Gradually, the subject matter shifted towards the regional. One subject in particular took center stage: the people of Graubünden who had emigrated since the 15th century to seek their fortune abroad. They were particularly successful all over the world as confectioners. Having become rich, a few returned home and had villas built for themselves. Giovanni Netzer, who grew up in Savognin and returned home after his studies, brings these stories to life, telling them in ever new ways, not only in theater and dance pieces, but also in the buildings.

The region keeps its face

Architecture has long played a central role at Origen. After the old castle, the villa of the successful Parisian confectioner Carisch was also restored in Riom, and the adjacent barn, the Clavadeira, was converted into a theater hall suitable for winter use. Temporary theater housings were built on Lake Silvaplana and on the Marmorera dam wall, as well as on the Julier Pass, where the spectacular red tower was later built, which was used for six years. It became a landmark of the region.

Finally - as Swiss television reported in detail - the white villa in Mulegns was moved eight meters: Old building fabric was thus preserved, but the heavy transit traffic over the Julier can now pass through without any problems. The Hotel Löwe next door, which was built in the 1830s and once hosted royalty, Nobel Prize winners and writers, has also been renovated. The Origen Festival has thus become a role model for many in the use of regional resources.

The confectioner's tower from the printer

Some people will have thought that enough was enough and that Origen had probably reached its peak. But the festival has since surprised everyone with another coup: together with the ETH, it announced the construction of a thirty-metre-high white tower, which was injected piece by piece in a 3D printer as if using a spray bag and then assembled on site. It was officially inaugurated in May, currently the world's tallest 3D building. A masterstroke indeed, also aesthetically. After all, where else can you find a confectionery tower like this, where you can literally see the whipped cream oozing out between the layers? Like all patisserie, some people will probably suspect it of being kitsch, but the tower is absolutely harmonious in this historic landscape. (Don't some of Gaudí's buildings also have something sweet about them?) Anyone who climbs to the top not only experiences a wonderful view, but also feels the unique materiality of the building. Fairytale-like - and courageous at the same time. It is to remain there for five years.

"Fairy tales" is also Origen's motto this year. In front of the tower is the dance piece La Torre in which Netzer presents Calderón's classic Life is a dream into a family of confectioners. At dusk, the tower not only forms a magnificent backdrop, but is also incorporated into the scenery. In the old dining room of the Hotel Löwe, an idiosyncratic version of the Magic flute to experience. In addition, there are several high-quality ballet choreographies, exhibitions, guided tours, Gregorian chants in the morning or at Compline in ancient churches and, of course, the Commedia troupe, which tells the story of a mountain farmer's child: It wanders through the world until it is gripped by homesickness. Origen remains true to itself here too. We can't wait to see what surprises it comes up with next.

origen.ch

For more than fifty years, traditional, folkloristic and now also contemporary folk music has been documented in books, music books, recordings, films, temporary exhibitions, the permanent exhibition in the Ballenberg Open-Air Museum and in the two competence centers in Altdorf and Gonten.

Sibylle Gerber and Laura Rompietti drew up the concept for the special exhibition "Folk Music" at the Forum Schweizer Geschichte in Schwyz from this extensive material, visits to music festivals and folk music concerts and research in the SRF television archives and photo collections, and only after this preliminary work did they look for suitable exhibits. It was not primarily folk music instruments and pictures that were selected, but representative sound examples in impressive abundance. For reasons of space, the curators have refrained from presenting the entire phenomenon and have attempted to capture some aspects of Swiss folk music. However, Swiss folk music can be heard in many variations at several media stations, during requested improvisations by visitors and in the varied supporting program.

Together with graphic designers and sound engineers, the exhibition organizers have succeeded in recalling an important part of Swiss folk culture. Although the various types of alphorn - the bent form, Büchel, Stockbüchel and Tiba - are on display, the unique range of different functions from lure to rock instrument of the national symbol is missing. In addition, the talented Schaffhausen alphorn player Lisa Stoll talks about her relationship with the traditional costume and her instrument, which she demonstrates in a refreshing recording at one of the media stations. The fact that the hammered dulcimer, the most important instrument of the Appenzell people, was once widespread throughout Switzerland and can still be heard today in Valais is withheld from the visitor, but in the film Nicolas Senn fills this gap in his professional explanation of the old stringed instrument and its demanding playing style. In other videos, a Schwyzerörgel player and a yodeler demonstrate the popularity of folk music among young musicians.

Formations and landscapes

The special exhibition in Schwyz shows the representative formations of Swiss folk music: Ländlerkapelle (clarinet, Schwyzerörgeli and bass), string music (one or two violins, cello, double bass and dulcimer or accordion instead of the second violin and cello), Bandella (small wind band of the Ticinese) and the Fränzlimusik of the Engadine (string and wind instruments). The oldest ensemble cultivated in many folk traditions and associations, the fife and drum, is not to be found.

So-called musical landscapes are still recognizable in Switzerland today. These musical regions include the Appenzell region, the cantons of Schwyz, Ticino, Graubünden and the former mecca of country music, the city of Zurich. French-speaking Switzerland is represented by Joseph Bovet and his boys' choir, but where are the "accordéons jurassiens", modeled on the French musette, and the numerous choirs of French-speaking Switzerland that impress at the "Fête des Vignerons" in Vevey?

All the historical black and white photos might give the casual visitor the impression that Swiss folk music is a phenomenon of the past. However, the numerous concerts in the supporting program show that yodelling and playing the alphorn, dulcimer and Schwyzerörgeli are more alive than ever.

Awaken a love of music

The exhibition, which is accessible for ten months, is not tiring, on the contrary: large, woodcut-like illustrations of musicians and musical landscapes printed on the walls lead playfully to the easy-to-read text panels in four languages, to all the media stations with their fun content and finally to the "Stubete stage", where visitors can try out the instruments provided, but also demonstrate their own instruments that they have brought with them. And indeed, by seeing and hearing, visitors are encouraged to play, dance and sing themselves or are inspired to write on the huge blackboard what folk music means to them, what folk music actually is.

 

In Schwyz, a literally interactive exhibition has been created which, although it leaves something to be desired in terms of knowledge transfer here and there, makes you want to supplement your existing knowledge and make music yourself.

The supporting program offers guided tours for 60+, children's tours with an audio guide and dialogue tours with experts. Selected concerts in the tent in front of the museum are also recommended. If you can't take advantage of this and can't listen to your fellow visitors, you might come across the butcher making music next to the Forum of Swiss History, who plays the Schwyzerörgeli behind the store during work breaks.

"Folk music"
Forum Swiss History Schwyz
Until May 3, 2026
Tue-Sun 10-17 h
forumschwyz.ch/folkmusic

Do you have Fear of flying? No worries: a successful take-off into higher spheres, and after a short period of turbulence, a small meal and a temporary air pocket, German guitarist Armin Kulla brings us safely back down to earth. A little journey is the title of his collection of ten easy to moderately difficult pieces for three- or four-piece guitar ensemble. The eloquent title of the breezy opening piece is also typical of the other numbers.

After a New beginning we find ourselves in the Middle East, among other things with the attractively arranged, traditional oriental melody Fog El Nakhel. The visit to a pulsating, vibrant restaurant is also rhythmically lively. Old town, during the Winter in Bethlehem comes across as rather worn. Üsküdar'a Gider Iken (On the way to Üsküdar) from Turkey - better known under the title Katibim - is the second traditional folk song in the collection. All other pieces were written by Armin Kulla himself.

The arrangements are versatile, with some technical peculiarities. The role of each guitar within a piece is always clearly defined, although there are also melodies that are spread over several parts. Occasionally, the capo is used in individual parts, so that even high pitches are easy to master. After a colorful guitaristic foray, the composer dismisses players and listeners with a Farewell waltz back into everyday life.

Armin Kulla: Eine kleine Reise, easy to moderately difficult ensemble pieces for 3 and 4 guitars, D 826, with audio stream, € 14.80, Dux, Manching

Hans Gál (1890-1987) was an important man as director of the Mainz Academy of Music and with his compositions (operas, a symphony, songs, chamber music), which were performed everywhere. However, when Hitler came to power, he was banned from working as a Jew in Germany and fled to Vienna, then to Edinburgh when Austria was annexed in 1938, where he worked as a music lecturer until his death. His tonal music, based on Brahms, fell into oblivion as "anachronistic".

His enchanting violin concerto, composed in 1932 and published by Breitkopf, was premiered in Dresden in February 1933 with Georg Kulenkampff under Fritz Busch. Gál added three cadenzas to the concerto, all of which are also available in the piano reduction. The solo part is closely interwoven with the orchestral parts in a chamber music style, and the music flickers with melodic and harmonic ideas. The concerto was not performed again until 2005. The careful new edition of 2023 compares all existing sources and corrects minor inconsistencies, justified in the critical commentary. The performance material is available for hire. 

Hans Gál: Concerto for violin and small orchestra op. 39, edited by Anthony Fox and Eva Fox-Gál, piano reduction by the composer and violin part, EB 9457, € 33.90, Breitkopf & Härtel

If you don't go to the opera house, Kunsthaus or Tonhalle as a child or teenager, it will be difficult to find your way there later. The worlds of sound and images remain distant and unapproachable for many. A new app from the Tonhalle Orchestra Zurich now introduces children aged 6 and over to the world of heavenly violins and rumbling basses in High German. Let's go to The magical symphony orchestra: Select your avatar and walk through the colorful entrance into the next room, where Pip, Fidelia and Gustav are peeking out. The mouse, the spider and the ghost live in the Tonhalle because they love listening to music and because there are so many exciting things to discover there. One evening, when the visitors have gone, the three of them find a little book lying on the floor with all kinds of funny characters. A puzzle book?

First puzzle: The instruments are all mixed up and need to be sorted. To do this, drag the picture of the trumpet to the designated orchestra space, followed by the other musical instruments. You've done it! You learn that there are strings, woodwinds and other instrument families. But watch out, Carlos the cat is sneaking into the Tonhalle, high alert for Pip the mouse. Which instrument is best suited as a hiding place? Pip searches for the right hole in various instruments. Short melody fragments of individual instruments are played. In which order were they played? Click and continue.

This is followed by acoustic courses with an instrument-picture-sound-memory, with melodies and graphic note pictures as well as portraits of composers. (Mozart began composing at the age of five. Beethoven at seven. Bach played the harpsichord, violin, viola, organ and sang in the choir. He composed over 1000 vocal works).

Fidelia the spider winds five threads from her body, which form into staves - a small score is created on which you can follow the music being played. It's exciting how music can be written down in musical notation. Or is it the other way around? Seventh and final riddle: What does a conductor actually do? He conducts. And so do we. We use the cursor to draw 4/4 and triple bars on the screen and conduct the Tonhalle Orchestra Zurich.

So, enough learning and practicing (the course lasts about 45 minutes), now the doors to the Tonhalle are open. And you are cordially invited and well prepared.

Tonhalle-Orchester Zürich: The magical symphony orchestra, Agon Productions,
tonhalle-orchester.ch/game

The game can also be played in English from the 2025/26 season.

Music teachers are facing particular challenges today: The short pace of life is increasing and our children's attention spans are constantly decreasing. A new picture or voice message here, a link to a cool video there or endless playlists on Spotify or YouTube. A latent restlessness is already spreading in daycare centers and elementary school - in other words, among those age groups that Kristin Thielemann describes in her book Fully relaxed in view.

She describes in practical terms how music teachers can promote calm and concentration in children. Be it through physical exercises, acupressure techniques, listening or making music together or through calming stories with and about music. Thielemann proposes Johann Sebastian Bach's Goldberg Variations before: These could play quietly in the background while the children lying comfortably on mats are told a story featuring Bach and Count Keyserlingk (p. 80/81). Elsewhere, Thielemann describes how children use singing bowls to produce sounds that allow slowness, peace and relaxation to "almost arise by themselves".

Preventing restlessness

The devil is often in the detail - the author also draws attention to this in an illuminating way. An open piano lid is an invitation to an unintentional, hyperactive "piano concert". A music room equipped with too many instruments also leads to restlessness, which must first be "captured" again.

In interspersed text sections in the form of "hint boxes", Thielemann repeatedly offers concrete suggestions. For example, she advises against the question: "Which of you will be the first to guess which object or instrument these sounds are?" The result would only be "ill-considered answers" shouted into the room, leading to unnecessary unrest (p. 70).

The book is informative and the expandable teaching content is certainly very useful, for example in the form of a discreetly quiet opening exercise at the beginning of the lesson. The fact that music is functionalized in the sense of "medication against such an accelerated world" takes some getting used to when reading the book. In the end, of course, music and its mediation should be more than an oasis of calm.

Kristin Thielemann: Voll entspannt - Ruhe und Konzentration für Ihren Musikunterricht, 104 pages, with online material, € 24.50, Schott, Mainz 2025, ISBN 978-3-7957-3315-5

 

Georg Philipp Telemann, one of the most prolific composers of the Baroque period, composed twelve fantasias each for transverse flute, violin and viola da gamba in the twelve fundamental keys. The twelve fantasias for viola da gamba solo (TWV 40:26-37) are characterized by their variety of styles and musical ideas as well as their own expression and character, which makes them particularly interesting for an arrangement.

Their transposition to the flute poses a particular challenge. As the six-string viol has a wider range than the flute, the editor Leona Rötzsch has usually transposed the fantasias upwards by a minor or major third. This means that fewer octave shifts are necessary. The respective original key is indicated. In the arrangements, the range extends from B' to G''', with alternatives noted for the minor B. In contrast to the flute, the viola da gamba allows a wide range of chords and double stops. In the transcriptions, these passages are often arpeggiated or resolved. Leana Rötzsch finds interesting solutions for this in the Grave of Fantasia No. 4, for example, where she replaces the original progression in double stops with preluding phrases around the two notes of the double stop.

The stylish arrangements of the fantasias for viola da gamba represent an exciting expansion of the repertoire for transverse and transverse flute and open up new possibilities for interpretation.

Georg Philipp Telemann: Twelve Fantasias for viola da gamba without bass TWV 40:26-37, arranged for flute solo and edited by Leona Rötzsch, BA 8739, € 17.95, Bärenreiter, Kassel

Writing a non-boring book about different ornamentation patterns in a composer's work is a challenge; there is a great danger of falling into dry schoolmasterly language and instantly putting off the readership.

In her new study on Georg Philipp Telemann's ornamentation practice, Astrid Knöchlein shows that such an undertaking is also possible in a lively and practical way. Using his methodical sonata collections (TWV 41 and 42, published in Hamburg in 1728, 1731 and 1732), the recorder player and oboist compiles a comprehensive catalog of ornaments - from the alternating note to the slider to salti composti and circolo - and meticulously locates them in the respective slow movements of the sonatas that Telemann used for ornamentation.

Theory and practice

The "Handbuch der Verzierungen" as volume 2 is preceded by a first part with music-theoretical foundations, which underpins the practice with a lively presentation of the discourse in Telemann's time. Knöchlein gives his fellow musicians Johann Mattheson and Johann Joachim Quantz ample opportunity to have their say through their most important treatises. As a reader, you feel as if you are sitting in the middle of a theoretical circle of music scholars in northern Germany during the high baroque period.

To ensure that the musical examples in the second part are not merely dry musical notation, Knöchlein focuses on the theory of affects in volume 1. She explains this in a clear, source-based and practical way with the help of musical parameters: Key, melody, rhythm, harmony, meter and finally ornamentation.

One of the strengths of this two-volume book is that it allows for readings of varying degrees of depth: Anyone interested in Telemann's music-theoretical environment and the most common views on ornamentation practice at the time will find what they are looking for in the first part. Anyone wishing to study and analyze the methodical sonatas in detail, for example with regard to their interpretation, will find it difficult to avoid volume 2.

This book was written by a music lover for music lovers.

Astrid Knöchlein: Ornamentation - like Telemann! Georg Philipp Telemann's Methodical Sonatas and Trietti methodichi, ed. by Claire Genewein, Dorit Führer-Pawikovsky and Peter Schmid, 2 vol., 57+145 p., Fr. 65.00, Schmid & Genewein, Zurich 2024, ISBN 978-3-033-05348-9

At the request of the baroque ensemble Capella Jenensis, Julie Campiche, the harpist and composer from western Switzerland, wrote music for a meeting between her quartet and the formation from the German city of Jena a good five years ago. With the release of the CD Transitions this collaboration now finds a well-deserved continuation. The aim of the eight musicians is to confront chamber music with electronic music, but also to bring together familiar elements from jazz and classical music. To this end, Campiche presents three pieces from its own pen as well as works by the Franco-Flemish Renaissance composer Jacques Arcadelt (1507-1568) and the French viola da gamba virtuoso Marin Marais (1656-1728).

The set, which deliberately blurs the boundaries between baroque music and jazz, is captivating not least because of its clever use of the available sound resources: although the musicians use instruments as diverse as the recorder, soprano saxophone, harpsichord and percussion, the result is fluid and skillful. While pieces such as the graceful Perche Al Viso - Part I or the one that relies on finely chiseled rhythms parenthesis know how to beguile primarily through a subtle togetherness, show themselves Aquarius or H-Cab curious, keen to experiment and in constant exchange between past and present. It is exciting, playful, full of nuances and always wonderfully free-spirited. As a result, the album likes to take a few turns - the sparkling is followed by quiet dissonances and the elegant by the intricate. In the process, a sonic opulence develops that is never sought after and always knows how to captivate. This is undoubtedly also thanks to the clever direction of band leader Julie Campiche.

The fact is that Transitions is tantamount to a quiet yet spectacular sound experience that only gradually reveals its many facets.

Julie Campiche Quartet & Capella Jenensis: Transitions. nWog Records nwog063

 

 

Keyboard instruments
Piano - Piano pedagogy - Early keyboard instruments - Organ

String instruments
Violin - Viola - Violoncello - Double bass

Wind instruments
flute - recorder - oboe/English horn/bassoon - clarinet - saxophone - horn - trumpet/trombone

Plucked and percussion instruments, accordion
harp - guitar - ukulele - electric bass - drums - accordion

Vocal music and school music
Solo singing - Vocal ensemble - Choir - School music - Songbooks

Instrumental ensemble
Chamber music - Orchestra

 

Piano

January-June 2025

• Fazil Say: Paganini Jazz, The Virtuoso Piano Transcription Series 1, ED 20135, € 16.50, Schott, Mainz
• Marion Suter: 30 original compositions for piano or accordion (22 piano solos and 8 arrangements), self-published www.marionsuter.ch (partly recorded on CD: Pianist Marion Suter Vol. 2)
  >>> Review by Yolanda Schibli Zimmermann
• Franz Liszt: Second Petrarch Sonnetedited by Peter Jost, fingering by Francesco Piemontesi, HN 1650, € 7.00, G. Henle, Munich
• Franz Liszt: Les Jeux d'eaux à la Villa d'Esteedited by Peter Jost, fingering by Cédric Tiberghien, HN 1641, € 10.50, G. Henle, Munich
• Johannes Brahms: Waltz op. 39 for piano four hands, edited by Jakob Hauschild, fingering by Andreas Groethuysen, HN 1638, € 13.50, G. Henle, Munich
• Franz Schubert: Piano Sonata A minor op. post. 143 D 784, edited by Dominik Rahmer, HN 1560, € 11.00, G. Henle, Munich
• Franz Schubert / Franz Liszt: The Miller and the Bach from "Die schöne Müllerin", arrangement for piano, edited by Andrea Lindmayr Brandl, fingering by Evgeny Kissin, HN 1052, € 8.00, G. Henle, Munich
• Jean Sibelius: Lyric pieces for piano op. 74, edited by Kari Kipeläinen, EB 9529, € 17.90, Breitkopf & Härtel, Wiesbaden
• Jean Sibelius: Finnish Folk Songs for piano JS 81, edited by Anna Pulkkis, EB 9531, € 17.90, Breitkopf & Härtel, Wiesbaden
• Frédéric Chopin: Waltz in A minor with facsimile, edited by Jeffrey Kallberg, HN 1303, € 10.00, G. Henle, Munich
  >>> Review by Karl-Andreas Kolly

July-December 2024

• Antonín Dvořák: Suite in A major op. 98 for piano, edited by Iacopo Cicidini, BA 10421, € 14.95, Bärenreiter, Prague
• Fanny Hensel: Easter Sonata for piano, score and facsimile, edited by Marie Rolf, BA 11853, € 36.95, Bärenreiter, Kassel
• Bedřich Smetana: Easy piano pieces and dancesedited by Joaroslav Šindler, BA 11578, € 16.50, Bärenreiter, Prague
• Franz Schubert: Fantasy in F minor D 940 for piano four hands, edited by Walburga Litschauer, BA 11862, € 16.95, Bärenreiter, Kassel
• Bella Italia, 20 unforgotten titles (Schlager, Italo Pop, Canzone) for piano, D 644, Dux, Manching
• Franz Schubert / Franz Liszt: Serenade ("Leise flehen meine Lieder", arrangement for piano, edited by Andrea Lindmayr-Brandl, HN 1022, € 8.50, G. Henle, Munich
• Franz Liszt: Hungarian Rhapsody No. 5, edited by Peter Jost, HN 1637, € 9.50, G. Henle, Munich
• Franz Liszt: Hungarian Rhapsody No. 7edited by Peter Jost, HN 1537, € 10.00, G. Henle, Munich
• Ferruccio Busoni: Sonatina seconda, edited by Christian Schaper and Ullrich Scheideler, HN 1647, € 17.00, G. Henle, Munich
• Martin Reiter: Jazz Ahead 2, for piano with online audio; Textbook, UE 37122, € 22.50; Performance book, UE 37123, € 19.95; Universal Edition, Vienna
• Lio Hans: Oriental dances from the opera "Maria von Magdala" for piano, UE 38013, € 16.95, Universal Edition, Vienna
• Franz Schubert: Allegro in A minor D 947 "Lebensstürme" for piano four hands, edited by Walburga Litschauer, BA 10886, € 21.50, Bärenreiter, Kassel
• Frédéric Chopin: Sonata in B minor op. 58 for piano, edited by Paul Badura-Skoda and Britta Schilling-Wang, BA 11828, € 15.95, Bärenreiter, Kassel
• Maurice Ravel: Sérénade grotesque, edited by Andreas Pernpeintner, HN 1590, € 8.00, G. Henle, Munich
• Franz Schubert/Franz Liszt: The Wandering from "Die schöne Müllerin", arranged for piano, edited by Andra Lindmayr-Brandl, HN 1051, € 8.00, G. Henle, Munich
• Wolfgang Amadeus Mozart: Piano Concerto No. 26 D major KV 537 (Coronation Concerto), piano reduction by Heiko Stralendorff, edited by Andreas Friesenhagen; piano reduction, HN 1578, € 24.00; study score, HN 9578, € 13.00; G. Henle, Munich
• Pierre-André Bovey: Douze Préludes pour piano, Bibliothèque cantonale et universitaire BCU, Lausanne, ISBN 978-2-88888-54-4
• Constantin Regamey: Pieèces de jeunesse pour piano, Bibliothèque cantonale et universitaire BCU, Lausanne, ISBN 978-83-7099-253-8

January-June 2024

• Franz Schubert/Franz Liszt: Sojourn from "Swan Song" D 957, arrangement for piano, edited by Andrea Lindmayr-Brandl, HN 599, € 8.50, G. Henle, Munich
• Frédéric Chopin: Piano Sonata in B minor op. 58, edited by Norbert Müllemann, HN 871, € 16.00, G. Henle, Munich
• Arnold Schönberg: Piano Pieces op. 33a and 33b, edited by Norbert Müllemann, HN 1165, € 14.00, G. Henle, Munich
• Sergei Rachmaninov: Piano Concerto No. 3 D minor op. 30, edited by Dominik Rahmer, piano reduction by Johannes Umbreit, HN 1452, € 29.00, G. Henle, Munich
  >>> Review by Karl-Andreas Kolly
• Sergei Rachmaninov: Six Moments musicaux op. 16, edited by Dominik Rahmer, HN 1492, € 15.00, G. Henle, Munich
• Sergei Rachmaninov: Rapsodie sur un thème de Paganini op. 43 edited by Norbert Gertsch, piano reduction by Heiko Stralendorff, HN 1506, € 26.00, G. Henle, Munich
• Chinese piano music, works of the 20th century, edited by Jingxian Xie, HN 1453, € 30.00, G.Henle, Munich
• Antoine Reicha : Variations sur l'air " Charmante Gabrielle " op. 85, pour piano, ed. par Michael Bulley, € 12.00, Editions Symétrie, Lyon ISMN 978-2-36485-212-9
• Johanna Senfter: 6 waltzes for piano four hands, first edition by Dieter Michael Backes, ED 21499, Schott, Mainz
• Alexander Rosenblatt: Toccata-Boogie for piano, ED 23780, Schott, Mainz
• Vladimir Horowitz: Carmen Paraphrases for piano solo after motifs by Georges Bizet, ED 23634, Schott, Mainz
• Camille Saint-Saens: Six Etudes pour piano, Premier livre op. 52, edited by Catherine Massip, BA 11854, Bärenreiter, Kassel
• Camille Saint-Saens: Six Etudes pour piano, Deuxième livre op. 111, edited by Catherine Massip, BA 11855, Bärenreiter, Kassel
  >>> Review by Karl-Andreas Kolly
• Maurice Ravel: Concertofor piano and orchestra, edited by Douglas Woodfull-Harris; score, BA 9048; piano reduction, BA 9048-90, Bärenreiter, Kassel
• Josef Suk: Easy piano pieces and dancesedited by Jonas Hajek, BA 11575, € 14.95, Bärenreiter, Prague
  >>> Review by Karl-Andreas Kolly
• Sergei Prokofiev: Piano Sonata No. 7 op. 83, edited by Claudia Heine, HN 1620, € 17.00, G. Henle, Munich
• Sergei Prokofiev: Visions fugitives op. 22, edited by Norbert Gertsch HN 1158, € 20.00, G. Henle, Munich
• Arnold Schönberg: Complete Piano Works, edited by Marte Auer (op. 25), Ulrich Krämer (op. 23), Norbert Müllemann (op. 19, 33a, Klavierstück 1894), Ullrich Scheideler (op. 11, 33b), HN 1178, € 45.00, G. Henle, Munich
• Bach goes World14 Popular Arrangements for Piano solo by Jean Kleeb, BA 10653, € 16.95, Bärenreiter Kassel
• Sally Greenway: Piano Music for Discoverers, Volume , self-published, sallygreenaway.com.au

July-December 2023

• Christmas carols from all over the world, Piano accompaniment, VHR 13519, Holzschuh, Manching
• Christmas carols from all over the world, for piano, VHR 13508, with audio stream, Holzschuh, Manching
• Guido Klaus: Boundless Christmas for piano, the most beautiful Christmas carols from Germany and Europe, very easy to challenging, D 646, Dux, Manching
• Franz Schubert: Piano Sonatas IIThe middle sonatas, D 664, D784, D840, D 845, D850, edited by Walburga Litschauer, BA 9643, € 31.50, Bärenreiter, Kassel
• Nicola Campogrande: Preludi da viaggio, for piano, ED 9428, € 16.90, Breitkopf & Härtel, Wiesbaden
• Ludwig van Beethoven: Piano Sonata op. 81a "Les Adieux", edited by Peter Hauschild, revised by Jochen Reutter, UT 50439, € 9.95, Wiener Urtext (Schott/Universal Edition)
• Robert Schumann: Carnaval op. 9, edited by Michael Bleiche, UT 50206, € 14.95, Wiener Urtext (Schott/Universal Edition)
• Ludwig van Beethoven: Piano Sonatas Volume 1op. 2-22, Perahia Edition, edited by Norbert Gertsch and Murray Perahia, fingerings by Murray Perahia, HN 832, € 42.50, G. Henle, Munich
• Piano Album, All-time Favorites from Bach to GershwinHN 1750, € 7.50, G. Henle, Munich
• Leoš Janáček: On an overgrown path, Kleine Klavierstücke, edited by Jirí Zahrádka, HN 1505/UE 37007, € 18.00, G. Henle, Munich/Universal Edition, Vienna
• Jakub Metelka: The secret garden, Modern Nocturnes for piano, BA 11574, € 15.95, Bärenreiter, Prague
• Ludwig van Beethoven: Complete Bagatelles for pianowith Bagatelle WoO 59 "Für Elise", edited by Mario Aschauer, BA 9649, € 23.95, Bärenreiter, Kassel

January-June 2023

• Mike Cornick: A Piano Sketchbook. Six piano solos including jazz and Latin-styled pieces, UE 21843, € 14.50, Universal Edition, Vienna
• The new Busoni. Exercises and studies for piano, edited by Franzpeter Goebels; Volume I: Exercises, EB 698; Volume II: Exercises and Studies, EB 6949; € 33.90 each, Breitkopf & Härtel, Wiesbaden
• Gabriel Fauré: Trois Romances sans paroles op. 17, edited by Jean-Pierre Bartoli, BA 11852, € 12.50, Bärenreiter, Kassel
• Hans Pfitzner: Six Studies for piano op. 51, JO44-01, Schott, Mainz
• Rodion Shchedrin: Variation on a theme by Anton Diabelli, ED 23536, Schott, Mainz 
• Christian Jost: Diabelli Variation "Rock it, Rudi! ", ED 23535, Schott, Mainz
• Toshio Hosokawa: Loss, Diabelli variation, SJ 1211, Schott, Mainz
  >>> Review by Karl-Andreas Kolly
• Vladimir Horowitz: Fragment douloureux, The Horowitz Edition, ED 23085, Schott, Mainz
  >>> Review by Karl-Andreas Kolly
• Sergei Rachmaninov: Morceaux de Fantaisie op. 3, edited by Dominik Rahmer, HN1491, G. Henle, Munich
• Alexander Scriabin: Twelve Etudes op. 8, edited by Valentina Rubcova, HN 1486, G. Henle, Munich
• Bach/Gounod: Méditation (Ave Maria), version for piano solo, edited by Gérard Condé, HN 1301, G. Henle, Munich
• Swiss Female Composers Festival: Piano Collection, 10 piano pieces edited by Katharina Nohl, Universal Edition 2023
• Frédéric Chopin: Berceuse pour le piano op. 57, edited by Britta Schilling-Wang, BA 11830, € 7.50, Bärenreiter, Kassel

 

Piano pedagogy

January-June 2025

• Cécile Chaminade: Album des enfants, Selections from Opus 123 & 126, for piano, edited by Monika Twelsiek, SE 1066, € 14.50, Schott, Mainz
• Ji-Youn Song: My piano - all the way - at the beginning, Character pieces and exercises with new playing techniques, BA 10879, € 16.95, Bärenreiter, Kassel

July-December 2024

• Simone Nardelli: Piano exercise book, D 1217, Dux, Manching
• Karin Gross: Avanti Musicanti, 41 easy piano pieces, with audio download, VHR 3419, Holzschuh, Manching

January-June 2024

• 9 Compositrices de 3 Siècles, ed. par Nils Franke, commentary French/English, UT 52014, € 17.50, Wiener Urtext Edition (Schott/Universal Edition)
• Grieg Favorites, arr. for Piano Duet by Mike Cornick, UE 21 847, € 19.95, Universal Edition, Vienna

July-December 2023

• Kerstin Strecke: Little Moods, 15 easy pieces for piano, EB 9442, € 14.90, Breitkopf & Härtel, Wiesbaden
• Alexandra Fink: Playing fun with Tatze the cat. Over 40 playing ideas for music lessons, MN 956, € 16.90, Edition Nepomuk (Breitkopf & Härtel, Wiesbaden)
• Easy concert pieces for piano four hands, edited by Mona and Rica Bard, ED 23575, € 19.50, Schott, Mainz
• Amy Beach: Childrens's Album & Children's Carnival, edited by Melanie Spanswick, SE 1061, € 14.00, Schott, Mainz
• Narcisa Freixas: Elementary Piano Pieces, edited by Melanie Spanswick, SE 1060, € 12.60, Schott, Mainz
• The children's songbook for piano, 113 old and new children's songs easily arranged for piano or keyboard by Sebastian Müller, Schott, Mainz
• Learning piano the two ways - Volume 1, author and composer Maximilian Ebert, Fuchsbau-Verlag Regensburg
• 9 female composers from 3 centuries, 25 easy piano pieces with practice tips, selected and annotated by Nils Franke, UT 52013, € 17.50, Wiener Urtext (Schott/Universal Edition)

January-June 2023

• Arthur Brühlmeier and Yves-Bernard Mottier: Musical Kaleidoscope. 34 pieces for piano, self-published, Oberrohrdorf 2022
• Eike Wernhard: When the music hen lays an egg ..., Piano school for children, BA 8754, € 24.95, Bärenreiter, Kassel
• Guido Klaus: Keyboard researcher - sight-reading training right from the start, VHR 3418, € 15.80, Holzschuh, Manching
  >>> Review by Stefan Furter

 

Old keyboard instruments

January-June 2025

• Johann Sebastian Bach: Harpsichord Concerto No. 1 in D minor BWV 1052, edited by Matan Entin and Norbert Müllemann; score, HN 3340, € 25.00; string part, HN 3342, € 50.00; G. Henle, Munich

July-December 2024

• Johann Sebastian Bach: Italian Concerto BWV 971, edited by Ullrich Scheideler, HN 526, € 10.00, G. Henle, Munich
• Johann Sebastian Bach: Harpsichord concerto No. 4 in A major BWV 1055, edited by Maren Minuth and Norbert Müllemann; piano reduction by Johannes Umbreit, HN 1383, € 17.00; study score HN 7383, € 11.00; G. Henle, Munich
  >>> Review by Dominik Sackmann
• Josef Myslivecek: Six easy sonatas for clavier, edited by Vojtech Spurny, BA 11568, € 18.95, Bärenreiter, Prague

January-June 2024

• Johann Jacob Froberger: Suites for harpsichord, edited by Pieter Dirksen, HN 1091, € 31.00, G. Henle, Munich
  >>> Review by Dominik Sackmann

January-June 2023

• Johann Sebastian Bach: Harpsichord Concerto No. 3 in D major BWV 1054, edited by Maren Minuth and Norbert Müllemann; piano reduction by Johannes Umbreit, HN 1382; study score HN 7382; G. Henle, Munich
  >>> Review by Dominik Sackmann
• Dieterich Buxtehude: Organ Works Volume II, Free organ and keyboard works (manualiter) BuxWV 162-176, 225, EB 9306, € 33.90, Breitkopf & Härtel, Wiesbaden

Organ

January-June 2025

• Antonio Bertali / Dieterich Buxtehude: Sonata for organ and viola da gamba, BuxWV Anh. 5, edited by Harald Vogel, EB 9497, € 12.90, Breitkopf & Härtel, Wiesbaden

January-June 2024

• Where heaven and earth meet, hymn arrangements for organ for "Rise up plus", ed. Reformierter Kirchenmusikverband Schweiz, Friedrich Reinhardt Verlag, Basel, ISBN 978-3-7245-2713-8
• Early Tudor Organ Music, Vol. 1 and 2, ed. by John Caldwell, (Early English Church Music Vol. 65/66), EECM65/EECM66, 246/210. p., £ 100/85, Stainer & Bell, London 2024
  >>> Review by Tobias Willi

January-June 2023

• Organ music by female composers, 22 organ pieces from the 19th and 20th centuries, edited by Barbara Heller and Lucia Schnellbacher, ED 9741, Schott, Mainz
• Heinrich Scheidemann: Choral fantasies for organ, edited by Peter Dirksen, EB 8938, € 34.90 Breitkopf & Härtel, Wiesbaden
• Dieterich Buxtehude: Organ Works Volume II, Free organ and keyboard works (manualiter) BuxWV 162-176, 225, EB 9306, € 33.90, Breitkopf & Härtel, Wiesbaden
• Norbert von Hannenheim: Organ Works, Series VI, Volume 1, edited by Moritz Ernst, BB 3648, Boosey& Hawkes/Bote & Bock, Berlin
• Anton Bruckner: Symphony VII in E major, arranged for organ by Eberhard Klotz; Volume 1: Movement I + II; Volume 2: Movement III + IV; EM 1787, Edition Merseburger, Kassel 
• Johann Paul Schiffelholz: Concerto in D minor op. I/1 (1727) for organ, completed and arranged by Klaus Beckmann, EM 2837, Edition Merseburger, Kassel