In contrast to related areas such as basso continuo, there is hardly any literature on the subject of score playing. This is certainly due to the complexity of the subject matter, which also includes specialist areas such as sight-reading, instrumentation, harmony and stylistics. The didactics are correspondingly difficult to present clearly.

The now out-of-print two volumes are a successful attempt in this respect School of score playing by Günter Fork (published in 1980), which, however, could not prove their worth in the classroom due to their size. The four booklets are still relevant Score playing by Heinrich Creuzburg (published in 1956), in which, however, piano arrangements are proposed that are completely impractical. As far as this aspect is concerned, Alfred Stenger's Score playing, made easy from 2004 is an interesting approach, although the «made easy» is deceptive, because playing scores is not easy!

Comprehensive access, concrete assistance

Now Paul Suits presents a new, cleverly structured book in English and faces up to this fact: «There are artistic fields in which inspiration outweighs perspiration. In score reading the reverse is true [...]» The instructions are concise and the author's many years of teaching experience are evident throughout.

Suits teaches how to read the transposing instruments by learning the so-called «old clefs»: if you replace a marked clef with another one, the reference tone shifts, resulting in a transposition. If you also correct certain transposition signs, a transposing part can be read directly. This is preceded by a useful reading exercise to help learners familiarize themselves with the reference system of each new clef. Excellently selected literature examples are then used to guide you through all clefs and transpositions occurring in the orchestra.

Suits recommends figured bass and absolute chord symbols for grasping harmonic relationships. The chapters «Arranging the Score at the Piano» and «Dealing with unplayable Pieces» are particularly valuable. The methods and examples suggested are practical: reducing an orchestral movement to its harmonic framework and subsequently adding playable parts on the one hand, and regular reading and inner listening without an instrument on the other. Suits understands «score playing» comprehensively and uses the title Score Reading with intention: «In working with my students, techniques of playing, singing, imagining, and analyzing the score are all employed, often alternating in rapid succession.»

This book, full of helpful suggestions, is highly recommended to anyone who wants to tackle the difficult discipline of score reading!

Paul Suits: Score Reading: Time-honored Principles and New Approaches, 124 p., € 37.00, Tredition, Hamburg 2025, ISBN 978-3-384-57748-1

There are movies that you see. And there are movies that you hear. Anka Schmid's latest work Melody clearly belongs to the second category. «A soundtrack with a picture», you could also call it. First screened in the Sounds category at the Zurich Film Festival on September 28, 2025, and in regular cinemas from March 2026, it is much more than a music documentary: it is a poetic mosaic about how singing can become a lifeline, ritual, resistance, consolation and a sense of belonging.

The protagonists are as diverse as their voices. There is the Black woman Joanna Kora, who transforms her experiences from the Black Lives Matter movement into song and, as a music teacher and lead singer in the Go and Sing choir, inspires hope and enthusiasm with every note. The Appenzell dairymaid who protects not only her cows, but also herself, night after night with the Alpine blessing. The hip-hopper from Ticino, torn between anger at the lack of support for alternative youth culture and her deep roots in her homeland. The Kurd, whose voice was not taken away by seven years in prison and who now sings songs to his young daughter in Switzerland so that she, as a Kurd without a country, does not remain without culture. And the last death singer on a Greek island who, after the loss of her husband, finds support and purpose in life through song alone - and asks the anxious question: Who will sing her lament when she herself is no more?

Singing is more than sound

Schmid tells these stories without pathos, carried by the music and the faces of the singers. The camera captures the radiance, the tiredness, the passion. But the real centerpiece is the soundtrack. Sound engineer Reto Stamm largely dispenses with electronic distortion, conveying the voices pure, undistorted, in all their physicality. You can hear pauses in breathing, friction, imperfections - and that is precisely what makes the film so real.

At the end, when young women from the women's strike fill the square singing and drumming, the circle closes: singing is more than just sound. It overcomes boundaries, brings strangers closer together than any argument. Schmid's film shows that we can meet in the joy of singing, regardless of origin, language or skin color. A documentary that not only stays in the ear, but also in the heart.

Melody. Anka Schmid, Written and directed by. Frenetic-Films. In cinemas from March 5, 2026.

Trailer

The selection of these 17 Swiss folk songs is representative: the most popular from all four language regions are included. Some of them are «art songs» that have become commonplace due to their popularity. The Basel composer and recorder player Raphael Benjamin Meyer presents arrangements in his own publishing house Basilisk, which can be played by any instrument in a trio or as a duo with a piano accompaniment, which results from the lower two voices.

Very helpful is the offer to download individual parts for transposing instruments or with a different clef free of charge via QR code from the publisher's website basilisk-edition.ch to download. In a performance with a string trio, for example, the second part is in viola clef and in the «correct» octave so that it does not overlap the first.

The movement is skillfully done; it is more in the direction of «art music», but sounds extremely good and will give young musicians in particular a lot of pleasure in their first chamber music experience. As is usual in most song collections, there are no tempo markings, only once is it called «Swing». The level of difficulty is low, experience in reading music is an advantage. The lyrics are given with all verses for all songs, which also enables vocal renditions. However, the songs must be transposed for a comfortable singing pitch.

Popular songs with and without author

As familiar as these folk songs may be to the older generation, they will be lost to children and young people if there is less and less singing in elementary school. Today, music schools are taking on the task of preserving our musical tradition. Songs like Luegid vo Bärg and Tal, Le ranz des vaches, Guggisberglied, Le vieux chalet, Aprite le porte, Dorma bain and From Lozärn towards Weggis and many more are brought to the younger generation of musicians or brought to mind thanks to these arrangements.

Less popular songs with well-known authorship such as Weischus dü (Eugen Meyer, *1934), You ask me who I am (Heidi Stucki, 1915-2012) and Anneli where did you go yesterday? (Gottfried Bohnenblust, 1883-1960) have found their way into this collection.

Swiss Trios, for recorders, strings or other instruments arranged by Raphael Benjamin Meyer, score and parts (online), RM 21, Fr.23.50, Basilisk Edition, Basel

Clara Schumann rightly enjoys the reputation of an outstanding musician of the 19th century. Her fame outshone even that of her husband Robert. As a virtuoso, composer and teacher, she shaped an entire era. Her not overly large compositional oeuvre has been increasingly performed in recent years. Zurich Opera House is currently staging an entire ballet evening based on the life of this exceptional artist. Around thirty composers dedicated piano works to her, although she only included very few of them in her repertoire.

The Swiss pianist Kathrin Schmidlin continues with her double CD released by Claves Dedicated to Clara Schumann for works by ten composers and one female composer, most of whom have never been heard in the concert hall. She was advised in her choice of works by Walter Labhart. Schmidlin studied in Zurich, Nuremberg and Basel with Karl-Andreas Kolly, Wolfgang Manz and Tobias Schabenberger. Her previous CDs have been dedicated to works by female composers and have received very positive reviews.

From Bargiel to Smetana

This recording offers an extraordinarily interesting cross-section of piano music from the Romantic era. Among the composers are Alexander Dreyschock and Stephen Heller, famous piano virtuosos, Felix Mendelssohn Bartholdy and Vinzenz Lachner, respected conductors, Woldemar Bargiel, Clara Schumann's stepbrother, and Johann Peter Emilius Hartmann, important university teachers, and Eduard Bernsdorf, one of the most important music writers.

A great familiarity with the piano can be heard in all her works. Of course, the same applies to Johannes Brahms, who wrote a work that has also been arranged for various instrumentations by numerous other composers. Gavotte by Christoph Willibald Gluck, and for Robert Schumann, whose so-called Ghost variations, written shortly before his death, are a very peculiar piece that does not necessarily reveal itself on first hearing. Elisabeth von Herzogenberg's Allegro appassionato was dedicated to Clara Schumann by her husband after her death. Bedřich Smetana's 4 sketches prove that his piano music has been unjustly forgotten. In addition, the pieces by Bargiel and Bernsdorf, the latter as a premiere recording, are particularly worth listening to.

Kathrin Schmidlin plays with passion and great technical skill. The virtuoso pieces are particularly inspiring. Unfortunately, the piano sound is very direct, as if recorded from too close, even pedal noises can be heard. In addition to its artistic quality, this committed recording can also be recommended for its repertoire value.

Dedicated to Clara Schumann. Works by Bargiel, Lachner, Dreyschock, Heller, R. Schumann, E. von Herzogenberg, Brahms, Hartmann, Mendelssohn, Bernsdorf, Smetana. Kathrin Schmidlin, piano. Claves Records 3122/23

To avoid the danger that the inevitably lengthy introductory explanations could ruin the pleasure of listening: Antitopèia offers an incredibly dynamic and atmospheric blend of global influences and local performance, bringing us its experimental boldness with a lot of warmth.

At its core, the band The Sea Around Us consists of the Zurich drummer, multi-instrumentalist and composer Mario Marchisella and the Italian-South African clarinettist, bassist and synth specialist João Orecchia, who currently lives in Marseille. The two met in Johannesburg in 2008, when Marchisella was staying there as part of a Pro Helvetia residency with his life and work partner Marianne Halter - the two are involved in video and other art installations. They quickly recognized a «kindred spirit», which subsequently led to all kinds of other projects in South Africa and Switzerland.

Now the creative exchange has finally found expression in an album. The work began with a week-long meeting in Marchisella's Zurich studio. The daily, hour-long «jams» were all recorded and then - back at home - combed through separately for promising passages.

At a second meeting, they supplemented selected original recordings with additional instrumental parts and electronic arrangements. Now they felt the need for more ingredients. The vocal artist Saadet Türköz, the word performance artist Gilles Furtwängler and the violinist/electronic artist Magda Drozd each spent half a day in the studio and responded to the sound material presented to them with their own contributions.

Not least thanks to a South African-influenced bass carpet pad, resolute drums and atmospheric synth stabs, these pieces are almost carnal in their sensual richness.

The Sea Around Us: Antitopèia. Mario Marchisella, Drums, Guitar, Piano, Bass; João Orecchia, Bass Clarinet, Synthesizer, Bass. Guests: Magda Drozd, Violin, Electronics (1, 2, 3), Saadet Türköz, Lyrics & Voice (2, 4), Gilles Furtwängler, Lyrics & Voice (1, 6). Digital and vinyl. Audioscope/Irascible

There is a special breed of complete musicians among organists: almost universally educated, equally skilled in interpretation, improvisation and composition (whereby the latter is often somewhat neglected), well versed in literature and theology, active in the direct confrontation with the social and liturgical network of the church service; in addition, there is knowledge of organ building and teaching. Craftsmanship and spiritual superstructure truly go hand in hand.

Daniel Glaus combines all of this in his work. Born in Bern in 1957, he worked as organist at the Stadtkirche Biel from 1985 to 2006 and from 2007 as organist at Bern Minster, where he was responsible for church music and evening music. This was associated with a professorship for organ and composition at the HKB. He taught composition and instrumentation at the ZHdK. He retired from these positions at the end of 2022. But Glaus was never just a church musician: his encounters with his teacher Klaus Huber and later especially with Luigi Nono also led him to think beyond the purely musical in his works. History is just as present in his music as the immediate present.

This is reflected in his works with string quartet, which mark his development. The first quartet, composed in 1980 during his studies at the Bern Conservatory, is already fully formed and reflects his early exploration of classical forms (fugue, scherzo, chorale), but also of the twelve-tone technique in an independent way. The third title Naezach from 2001 is a quartet version of the first movement of the third of four orchestral Sephiroth Symphonies and refers to Jewish mysticism, the Kabbalah. The fourth, which was premiered at the Bern Music Festival in 2023, unfolds an even greater richness of sound. Spectral sounds are embedded in expansive sound fields, often raw, even untamed, but then again beautiful as in a Gregorian, even alpine blessing-like chant.

The dramatic confrontation with beautiful sound, in a way that is as fascinating as it is self-critical, appears again and again in Daniel Glaus' work: It is a sign of resistance, of listening. The music does not make itself completely submissive, it always challenges. This remains the case even in the poetic cantata Chammawet Ahawah for soprano, harp and string quartet. A polyglot love song, based on the Old Testament Song of Songs, but as intimate as it is at times impetuous. Glaus has the best interpreters at his disposal for all of this: Christina Daletska and Consuelo Giulianelli in the cantata and the phenomenal Arditti Quartet on the entire CD.

Daniel Glaus: Works for and with string quartet. Arditti Quartet; Christina Daletska, soprano; Consuelo Giulianelli, harp. Neos 12508

Grieg's Suite From Holberg's time is one of the main pillars of the repertoire for string orchestra. However, for the racy rhythm in the first movement, the beautiful cantilenas in the multiple divided parts of the middle movements and the virtuoso rigaudon in the solos to come into their own, performers of a high standard are required. For me, this suite is a piece for professional, at best semi-professional chamber orchestras. And a wonderful introduction to music for ambitious young string players!

All the more reason for me to welcome the publication of this new edition by Henle, which offers all the comforts that are indispensable today: Bar numbers in the score and in all parts, large-format paper in thick quality, parts set 3/3/2/2/1, clear music notation and a pagination suitable for performance. If you are traveling digitally, you can also purchase the score and parts in the Henle app.

First for piano, then for string orchestra

Edvard Grieg composed the suite in 1884 to mark the 200th birthday of the Norwegian polymath and poet Ludvig Holberg (1684-1754), whom he also referred to as the "Molière of the North". The version for string orchestra was preceded by the version for two-handed piano (also available from Henle, HN 432). It is less well known today than the arrangement for string orchestra completed by the composer in February 1885. It seems that Edvard Grieg already had the string sound in mind when composing the piano work. The fourth movement "Air" is one of the most beautiful string pieces, music for the desert island!

The editor Ernst-Günter Heinemann cites the first editions of the score and parts published by Peters in Leipzig (1886) with the composer's handwritten entries as essential sources. Grieg himself conducted the premiere in Bergen on March 13, 1885 (from handwritten parts). The autograph, which subsequently served as an engraver's model for the publisher, is unfortunately lost. Bowings and occasional fingerings, which are entered in the parts, were probably already there and correspond entirely to the author's ideas. They have been included in this Henle edition. But - don't worry - there are only a few of them, and they are all good!

Grieg cannot deny himself

If the Holberg Suite even if it is "Romantic" Baroque, which has little in common with today's knowledge of historically informed musical practice, it is nevertheless a valuable contemporary document of the reception of Baroque music in Grieg's time. The work allows us to take note with a smile of how its Romantic creator always remains recognizable through the Baroque idiom, despite his remark in a letter to Julius Röntgen in 1884: "It is actually a good exercise, as an exception, to hide one's own personality."

Edvard Grieg: From Holberg's time. Suite in the old style op. 40, version for string orchestra, edited by Ernst-Günter Heinemann; score, HN 3320, € 22.00; set of parts, HN 3322, € 45.00; study score, HN 7012, € 10.00; G. Henle, Munich

Cellists may sometimes look a little enviously at the violin literature. Of course, the cello literature includes Robert Schumann's profound Concerto in A minor. But does it also contain a "jewel of the heart", as Joseph Joachim described Felix Mendelssohn Bartholdy's Violin Concerto in E minor in 1906?

At least the Cello Concerto No. 1 in D minor op. 193 (1874) by Joachim Raff partially closes this supposed gap. Mendelssohn's Opus 64 was clearly the inspiration for it. The passionate entry of the solo instrument after two bars of orchestral introduction at the beginning, the brilliant cadenza at the end of the first movement, the flowing transition into the second movement, which is also in 6/8 meter, the lively rondo theme of the third movement: these are all elements in which the great model is audibly reflected. In the 3rd movement, Raff adds Paganini's perennial favorite Moto perpetuo op. 11.

The contemporary reviews were predominantly positive. However, in the 20th century, the proximity of this opus to Mendelssohn's Violin Concerto was sometimes criticized as unoriginal. Wrongly so! Raff's first cello concerto, dedicated to Friedrich Grützmacher, is a profound tribute and convincing homage to his great role model and offers the performers a rich palette of musical expression such as passionate cantilenas and brilliant passagework, which will not fail to have an effect on the audience.

The concerto has now been published by Breitkopf und Härtel in a new critical edition edited by Jonas Kreienbühl and Andrea Wiesli.

Joachim Raff: Concerto for Violoncello and Orchestra No. 1 in D minor, edited by Jonas Kreienbühl and Andrea Wiesli, score, PB 5715, € 65.00, Breitkopf & Härtel, Wiesbaden

Who hasn't seen them, the pretty, often colorfully painted house organs that stood in the ridge chamber of many a Toggenburg farmhouse in the late 18th and early 19th centuries? The meticulously researched and comprehensively documented book by musician, musicologist and organ builder Markus Meier is therefore naturally dedicated to the history and context of house organ building there.

This can develop over a period of around 75 years and leads to an almost standardized and perfected type of instrument, especially in the instruments of the Looser family (a list of almost 100 instruments can be found in the appendix). Meier also sheds light on the ecclesiastical organ building in the region and makes revealing cross-references that lead back to the organ building tradition in Vorarlberg and the Lake Constance region.

Organs and denominations

With his book, Meier succeeds in placing his topic, which at first glance may seem rather "local", in a context of social, confessional and religious-political conditions that extends far beyond Toggenburg (the "most important area of tension in the confessionally divided Confederation", according to the author).

In the post-Reformation period, its churches were initially often used equally by both denominations, but remained under the control of the Prince-Abbot of St. Gallen, which meant that the Reformed ban on organs could be circumvented to a certain extent "with Catholic blessing". At the same time as the organ returned to the church, the house organ also played an important role in everyday domestic family devotions in the spirit of pietism (a link between the house organ culture and the Zwinglian organ ban is therefore demonstrably false). The emergence of the fortepiano eventually displaced the house organs; however, in some places these were transferred to churches - at least as temporary solutions.

Conclusion

A book warmly recommended to all those interested in organs, which documents an important chapter in the ecclesiastical and secular organ history of our country against its confessional background in accordance with the latest state of research. It is to be hoped that in view of the manifold activities surrounding the Toggenburg house organ culture, a publication on the surviving, still largely unpublished music materials and the repertoire played could also follow!

Markus Meier: Geächtet, geliebt und geduldet - Die Orgel im nachreformatorischen Toggenburg, 400 p., Fr. 48.00, Chronos, Zurich 2025, ISBN 978-3-0340-1796-1 (E-Book free of charge)

If music were a sport, this adventurous, fast-paced and not least verbally challenging album would break records. It contains no less than 69 tracks - with a punky total duration of 36 minutes and 24 seconds. The shortest contribution lasts 7 seconds, the longest an almost elephantine 1'41".

Well, the Baden composer and saxophonist Christoph Gallio has never taken the path of least resistance, which has led to many uplifting, surprising experiences in the works of the Day & Taxi ensemble, which has existed in various formations since 1988. Nothing changes here, and yet everything is different. For over thirty years, Gallio has been particularly interested in the works of Pennsylvania-born author and art collector Gertrude Stein (1874-1946), whose circle in Paris later included Picasso, Hemingway, Scott Fitzgerald and Matisse. Her literary work is characterized above all by the musical, often repetitive structure of her sentences, the meaning of which can rarely be encapsulated by the usual means of linguistic cognition. Exactly: "A rose is a rose is a rose."

Shortest poetry, shortest composition

With Yet Dish is a long, posthumously published series of short poems. There is not enough space here to explain Stein's theories on words and their meaning - or our idea of their meaning. Suffice it to say that these mini-poems certainly trigger completely different associations and trains of thought in every ear. For example XLII: "A jell (sic) cake/A jelly cake/A jelly cake." Or XLV: "Copying Copying it in."

From the first to the last note, Gallio has tailored a highly concentrated short composition to each one, independent in its construction and tonal quality (i.e. inspired by the words and at the same time lending them a new dimension), which feels the words to the teeth and makes the contours sound. He is helped in this by the French-Bernese singer Sonia Loenne, who quietly reminds us of Dagmar Krause, the double bassist Vito Cadonau and the drummer Flo Hufschmid. The overall effect of the crystal-clear, polished miniatures is a kaleidoscopic shimmer in which the words spread like honey in tea.

Christoph Gallio's Stone Is A Rose Is A Stone Is A Stone - Yet Dish, Gertrude Stein. Sonia Loenne, voice; Christoph Gallio, soprano & alto saxophone; Vito Cadonau, double bass; Flo Hufschmid, drums & percussion. Hat Hut Records

The anthology Artificial intelligence of sounds offers a solid overview of the current discussions on artificial intelligence in the music industry. The topics range from technical backgrounds to questions of copyright protection, production and mediation to reflections on developments in art criticism. Most of the articles are easy to read. Highlights include Ludger Brümmer, who makes the statistical principle of Markov chains, which are important for AI, comprehensible, and Michael Schmidt with an overview of physical and digital tools for composition with the help of AI.

Dorte Lena Eilers provides entertaining anecdotes on the historical reactions of the arts pages to early attempts to compose and perform AI-inspired works. The critics' guild caught ChatGPT cold, she writes. The derision she pours on the Linz-based Ars Electronica and the Karlsruhe Center for Art and Media Technology, which "don't have the future under control", could also be directed at the texts in this book.

Although the blurb asks to what extent the "neat separation between work, arrangement, interpretation and performance still fits in with AI-supported musical practice", the topic is dealt with in a conventional feuilleton style that neatly separates these areas. The entire collection of texts thus seems somewhat nostalgic. It should be helpful for the generations that were socialized before the digital revolution. Digital and presumably soon AI natives will use YouTube and ChatGPT to gather their information on AI developments in the music industry. With all the associated risks. And this is probably the main strength of the book: You can trust the information practically without reservation.

Artificial Intelligence of Sounds - Ethics and Aesthetics of Digital Music Culture, edited by Michael Schmidt, 124 p., € 22.00, Edition text + kritik, Munich 2025 , ISBN 978-3-689-30030-2

"Not a second of idleness" can be found in Dieter Ammann's works, said his famous, now sadly deceased composer colleague Wolfgang Rihm. The fact is that the creations of the composer from Aargau, who teaches composition at the Lucerne University of Music, are extremely well received by audiences. His piano concerto Gran Toccata, which he worked on for several years, has already been performed worldwide with great success - also thanks to the phenomenal interpretation by Andreas Haefliger - and his viola concerto no templates also has a great chance of becoming a repertoire piece.

However, Ammann has become particularly well-known in the last decade with four works for large orchestra, in chronological order these are Boost (PREMIERE 2002), Core (PREMIERE 2002), Turn (UA 2010) and glow (PREMIERE 2016). The first three were commissioned by the Lucerne Symphony Orchestra and the Lucerne Festival, glow The Zurich Tonhalle Orchestra and the Bern Symphony Orchestra will perform together.

Improvisational habitus and meticulous care

Their captivating effect is based on several factors: on the one hand, you can sense Ammann's past as a jazz musician and improviser. Although the four pieces do not contain any improvised or aleatoric passages, but on the contrary are "worked out" down to the smallest detail, they have a rhythmic groove that constantly maintains the tension. Pierre Boulez characterized them as follows: "Ammann's orchestral works form a synthesis of seemingly improvisational habitus and meticulous care in their elaboration." This way of working makes him one of the "slowest" composers among his contemporaries. Ammann writes that composing also means "enduring the contradiction of being a seeker in a world whose creator you are at the same time". On the other hand, the works are very varied and sensual, as Ammann exploits all the possibilities of a modern orchestra in his orchestration, with percussion often featuring prominently.

Of course, very different music has left its mark on Ammann's work; one is momentarily reminded of John Adams' Short Ride in a Fast Machine, Mark-Anthony Turnages Three Screaming PopesGyörgy Kurtág's Stele or even Alexander Mossolov's Iron foundryi; some of the harmonies and timbres are reminiscent of works by French Impressionists or Olivier Messiaen. Ammann's music is not epigonal, however, but has its own personal signature. It is pleasing that he completely dispenses with quotations, which seem almost unavoidable with other composers at the moment.

Opulent in sound and played with brilliance

Naxos will release a CD of orchestral music by Ammann in 2023 (including Core, Turn and Boost) in outstanding, live-recorded interpretations by the Basel Sinfonietta under Baldur Brönnimann. The fact that the Schweizer Fonogramm label has now released these three works, supplemented by glowin studio recordings with the Orchestre de la Suisse Romande under the direction of Jonathan Nott, who is familiar with Ammann's music, can be described as a stroke of luck. On the one hand, we now have two different recordings of some of the most interesting recent orchestral works composed in Switzerland; on the other hand, the new recording, opulent in sound and played with the greatest brilliance, is a real pleasure to listen to. The CD can be warmly recommended!

Dieter Ammann: glut, music for orchestra. Orchestre de la Suisse Romande; Jonathan Nott, conductor. Swiss Fonogram, SF0020

This LP almost makes you feel a little nostalgic. The agility of this bass playing, the nimble and at times wild actionism, a gesture of departure as we know it from the London free jazz scene, often tamed by structure that comes from new music. That was the 70s.

The British double bass player Barry Guy, who has lived in Switzerland with his wife, violinist Maya Homburger, for a long time, has performed in several scenes, including baroque music. He has performed in Donaueschingen several times. And here everything comes together in a unique way. The one-and-a-half LP (with A, B and C sides) has a few surprises in store.

Only Iannis Xenakis' Theraps has become a classic with its bruitistic and playful power. The other four composers, although they are all still alive, have faded somewhat into the background; it is worth rediscovering them. They knew how to use Guy's improvisational and theatrical qualities in a variety of ways: Bernard Rands, for example, with Memo or John Anthony Celona with Voicings. The voice of the double bass player joins in, whispering and whistling. The Italian Luca Lombardi has composed a political Essay with a quote from Paul Dessau, and the South Tyrolean Hubert Stuppner wrote with Expressions a rondo for a clown - which is wonderfully illustrated with photos in this LP edition: Here, the bass is playing away with itself from the tape - a fine example of the exuberant vitality that instrumental theater still possessed in those years.

Is that a thing of the past? In any case, it takes a virtuoso like Barry Guy, who incidentally has also created magnificent score graphics. Anaclasis from 2002, the only own and more recent work, realized here with his bass colleague Stefano Scodanibbio, is one of them: it opens up a rich playing field for the two musicians.

Barry Guy Plays. Luca Lombardi, Hubert Stuppner, Iannis Xenakis, Bernard Rands, John Anthony Celona and Barry Guy. Barry Guy, double bass. Maya Recordings MLP 2401

"Memory is something we performers don't like to talk about - mainly because we're afraid of losing it." This is what the Canadian pianist Angela Hewitt once said. The fact that professionals can play by heart for hours on end, usually without making mistakes, is basically a miracle. In fact, our brain memory is as fascinating as it is almost impossible to penetrate. Beyond the extremely complex and as yet barely researched interplay of hundreds of trillions of synapses, this also applies to the topic of "music and memory". Although it is immediately obvious, it is still difficult to grasp.

Music and memory by Melanie Unseld is a study book. The professor, who teaches in Vienna, aims to provide an overview of musicological perspectives on a subject that has been significantly promoted by cultural studies, for example by Jan Assmann's book The cultural memory. Identities therefore play a role, for example, where the subconsciously anchored Marseillaise or other hymns create national awareness. Other areas of research include aspects of canon formation and reception research. Why are some things remembered and why not? Why have these or those composers and far fewer female composers prevailed? Unseld naturally also touches on monument preservation and politics with such questions. She mentions, for example, the temporary ban on the Marseillaisewhich, due to its revolutionary potential, was to disappear from memory for a time, just like some works by Russian composers that were banned under Joseph Stalin.

It is not always easy to follow Unseld. She changes perspectives in minute detail. From the absolutely important role of music in the lifelong formative teenage years, she jumps to music didactics, dementia research or a falsifying memory that is commonplace in biographies. As if that were not enough, memories also play a role in the aesthetics of composition. Composers recall predecessors by quoting them. And: sonata form, variation movements, verses and choruses make it clear that music almost always plays on the keyboard of memory. Unseld sums up this particular narrow approach by writing about the experience of time: "Music can deal with time in three ways. It can construct time (through rhythms or the course of form, through composition), imagine time (for example with historical performance practice or music historiography) and make time perceptible (for example through the correlation to the heartbeat or when time passes while practicing or attending a concert)."

For the time being, it is impossible to foresee where this complex field of research will lead. It is nice that Unseld's excellently edited book moves away from cool formalism towards a more human approach to music. In the end, however, it cannot be overlooked that memory is (so far) difficult to grasp and is often very different from person to person. In this respect, music in turn has to do with memory, because both areas seem like a pudding that cannot be nailed to the wall.

Melanie Unseld: Music and Memory - A Study Book, 298 p., € 29.90, Rombach Wissenschaft, Baden-Baden 2025, ISBN 978-3-96821-886-1  

Estonian composer Arvo Pärt celebrated his 90th birthday this September. He himself says of his style, which emerged in the late 1980s: "Tintinnabulation is an area I sometimes delve into when I'm looking for answers - in my life, my music, my work. (...) The complex and multi-layered only confuses me, and I have to search for unity ..."

Two of his most recent choral works are the German Our Father and the motet O Holy Father Nicholas. He wrote the latter for the rededication of St. Nicholas Greek Orthodox Church at the National Shrine at Ground Zero in New York, which was destroyed on September 11, 2001. A sonorous, enriching ten minutes in typical Pärt a cappella style. The Our Father on the other hand, is rather atypical for him, but no less impressive. In addition to the previous versions for voice and piano and for choir, piano and string orchestra, Universal Edition Wien has now published this new version for choir and piano, which can also be performed by amateur choirs.

Arvo Pärt: Our Father, for mixed choir and piano, UE 38005, € 8.95, Universal Edition, Vienna

Id.: O Holy Father Nicholas, for mixed choir a cappella, UE 38114, € 13.95