The teacher's handbook for the new teaching aid from the publisher Helbling Wind class guide comes with the weighty volume of more than 450 densely printed pages. The textbook impresses with a wealth of extremely varied and stimulating material. In addition to the teacher's book, it includes student booklets for all wind orchestra instruments, play-alongs and online aids that can be accessed via a code, as well as a CD-ROM with a wealth of additional material.

The Wind class guide was jointly developed by five authors, all of whom teach music at secondary school level and have experience in working with wind classes as well as in school music. The aim of the new teaching aid is to combine the playing practice that dominates wind band classes today with the content of school music lessons (music theory, ear training, creating and inventing music). The teaching material is not aimed at a specific age group. It is suitable for use from intermediate level upwards. The teacher's book explains the concept, the underlying ideas and objectives as well as the methods used in the work with the classes in detail.

The teaching part begins with a preliminary course, which takes place without instruments and extends over 3 units, i.e. approx. 6 lessons. This is followed by Basics with instrumental methodology and then the lessons with the instrument, which are divided into two volumes with 23 and 18 lessons respectively (1st/2nd volume). Each lesson offers material and fully prepared lesson plans for 2 lessons.

This concept is based on 3 lessons of extended music lessons per week, divided into 2 lessons of regular music lessons with the whole class and 1 lesson of instrumental lessons in small groups. If less teaching time is available, it may be difficult to complete the two volumes within 2 school years.

In terms of content, the teaching material places great emphasis on teaching music theory. The basics are introduced thoroughly, but also in an extremely varied and playful way, with lots of suggestions for partner or group work. At the same time, the theoretical content is linked to practical playing on the instrument and used for creative tasks. Pupils are always encouraged to engage in practical activities. On average, there are one or two short pieces of music per lesson (chapter), which is rather few. In most cases, the pieces are accompanied by additional suggestions for interpretation, presentation or reflection as well as links to theory. For many pieces, additional four-part class arrangements with a 2nd part, a bass part and an upper part "for experienced players" are available on the accompanying CD-ROM, which allows for individualization of the requirements through internal differentiation.

Using specially marked toolboxes, the pupils are taught specific methods as a craft, how they can work on music independently, practise pieces or acquire musical material. The student booklets are attractively designed with colors and symbols and contain supportive and stimulating pictures and graphics. However, the pages as a whole seem rather overloaded and very text-heavy, which makes accessibility somewhat more difficult.

Wind class guide sets new standards in terms of thematic breadth, the teaching of theory and a general understanding of music, as well as in its methodical and didactic preparation.

Sommer/Ernst/Holzinger/Jandl/Scheider: Leitfaden Bläserklasse. A concept for successful teaching with wind instruments, teacher's volume 1 and 2 incl. CD-ROM and pupils' solution booklets, S7770, Fr. 84.50, Helbling, Belp et al.

When a work of the repertoire is published in a new edition, especially one labeled "Urtext", there are two possibilities in (only a perceived) 95 percent of all cases: Either the editorial decisions compared to previous editions have to be looked for with a magnifying glass (in which case there are usually market considerations behind the edition - and yes: there is a Musik.biz, and that is unquestionably a good thing), or there really is something new, sometimes even spectacular, to discover. This may only concern a single note or an accidental (from Beethoven to Berg), but sometimes there are entire passages that were once lost in the haste of production or in the maelstrom of tradition.

In this respect, the present new edition of Dvořák's String Serenade also arouses curiosity: in addition to the usual minor corrections and additions, it features new bars: There are 34 in the scherzo and as many as 79 in the finale. They can be found in the autograph, but were not included in the printed score published by Bote & Bock in 1879. Admittedly, they were included in the 1955 volume of the complete edition (albeit in the appendix, and were thus once again lost in IMSLP, a repeated gravis defectus). Robin Tait has made a virtue of this necessity and chosen the autograph as the main source for the new edition, thus also integrating the passages that fell by the wayside during printing into the main text (and yet, as a concession to modern practice, has provided them with a vide-note). This means that it can now be freely explored, although Dvořák himself, as a recognized master, never later demanded a new edition. I used the recording with the Orchestre d'Auvergne under Roberto Forés Veses - and yes, the editors at the time may (?!) have made a good decision. But the discussion is open.

Antonín Dvořák: Serenade in E major op. 22 for string orchestra, edited by Robin Tait, score, BA 10423, € 22.95, Bärenreiter, Prague 

The composer Christian Gottlieb Müller (1800-1863) is probably quite unknown to many musicians. Perhaps the fact that he was Richard Wagner's teacher may lend him a little more luster. And this is certainly not without good reason: the score of the 15-minute bass trombone concerto from 1832 (already printed by Breitkopf & Härtel at the time) testifies to the good craftsmanship that Müller had acquired through his intensive study of Beethoven's works. The orchestration (2 woodwinds, 2 brass, 2 trp, timp, strings), the key (E flat major), the cadenza-like beginning of the solo instrument, the virtuosity in the 3rd movement and many other features (e.g. melodic line in octaves between flute and clarinet in the 2nd movement) are reminiscent of the 5th piano concerto by his idol Ludwig van Beethoven, written around 20 years earlier.

The Concertino was long considered lost, especially the orchestral version. Only a rather flawed, handwritten piano reduction from the 1950s kept the memory of the work alive. It was not until 2004 that a complete set of orchestral parts surprisingly emerged, forming the basis for the present score. The individual parts are available as rental material, the score and a proper piano reduction are for sale. A truly pleasing alternative to Ernst Sachse's Bass Trombone Concertino - not least for orchestral auditions.

Christian Gottlieb Müller: Concertino for bass trombone and orchestra in E flat major, edited by Nick Pfefferkorn, score PB 33001, € 36.00, Breitkopf & Härtel, Wiesbaden 2012/2018

The crowdfunding volume increased by a further 38% compared to the previous year. This means that Switzerland has become one of the largest crowdfunding markets in continental Europe. In the previous year, the value was 374.5 million francs. Since the emergence of crowdfunding in Switzerland, projects worth almost CHF 1.1 billion have been financed via this alternative form of financing.

Crowdfunding in Switzerland can be divided into four areas: Crowdsupporting/crowddonating, crowdinvesting, invoice trading and crowdlending. In the crowdlending segment, loans totaling CHF 261.9 million (+40%) were financed. In crowdinvesting, investments amounted to CHF 204.9 million (+52%). In crowdsupporting/crowddonating, projects were supported with over CHF 25.6 million (-12%). The biggest growth drivers in 2018 were the financing of SMEs via crowdlending and investments in real estate via crowdinvesting.

The volume of crowdsupporting fell slightly compared to the previous year. However, the number of campaigns increased by 7%. The sports category is particularly popular, with a total of 568 projects funded to the tune of CHF 5.4 million. Social projects were supported with 3.1 million francs, while 2.3 million francs went to music. Projects with a commercial focus, in which crowdfunding is used as a pre-sales channel for products, were also very successful. The volume in this area amounted to CHF 5.3 million.

In its press release today, the Federal Council summarizes the most important points of the new Culture Dispatch: The three "axes of action - cultural participation, social cohesion, creation and innovation - will be retained for the 2021-2024 period." CHF 942.8 million has been earmarked for the implementation of the draft submitted for consultation, which corresponds to an increase in funding of CHF 35.4 million.

In the area of "cultural participation", the "Youth and Music" program should be consolidated. In cooperation with the cantons and music organizations, the Federal Council will introduce support for talented musicians. In the area of "social cohesion", school exchange activities between the language communities will be strengthened and an exchange program for teachers will be set up. Finally, in the area of "Creation and Innovation", cooperation between culture and business is to be continued.

In addition to continuity, the Federal Council is also placing a special focus on digitalization. The digital transformation is influencing all areas and institutions of culture in terms of production, communication and preservation.

In the 2021-2024 funding period, cooperation with the cantons, cities and municipalities will continue as part of the National Cultural Dialogue. The Confederation also wants to promote gender equality in the cultural sector and appropriate remuneration for cultural workers.

The consultation period will last until September 20, 2019. The report was presented at the 5th meeting of the Parliamentary Group on Music on June 5 in Bern.
 

Franco Ambrosetti inherited two things from his father: a love of jazz and a family-owned company with several hundred employees. The trumpeter and flugelhorn player ran the company for 27 years - until he sold it in 2000 to devote himself entirely to music. Ambrosetti talks about this in his autobiography, which was published last year and is well worth reading Two careers - one sound. He now also has a new CD, The Nearness Of Youfollow.

Their music goes back to a project for the 2016 Sanremo Jazz Festival: the Ticino native was asked to develop a concert evening with the Sanremo Symphony Orchestra under the direction of Massimo Nunzi; two years later, they came together again in the studio to record the ten pieces for posterity. The focus was on the encounter between classical musicians and jazz soloists.

Ambrosetti, now 77 years old, demonstrates his flair for the warmest possible sound on the album. It is also fascinating how well he manages the balance between jazz and orchestral music. The arrangements are broad and yet differentiated and are extremely agile. The subtle Un Uomo Disabitato or the gently melancholic My Ship from the pens of Kurt Weill and Ira Gershwin. The album, which sometimes sounds like the soundtrack to an opulent Hollywood film from the 1950s, unfolds with great ease. And also creates suspense, in that Ambrosetti Gin And Pentatonic or A Bix Within A Wheel enriched with abstract passages. This is uncomfortable, but provides freshness and color. The CD ends with Hadena mini-requiem for the double bassist Charlie Haden, who died in 2014. It is the worthy conclusion to a work that knows how to please from A to Z.

Franco Ambrosetti: The Nearness Of You. Symphonic Orchestra and Jazz Band. Works by Hubbard, Nunzi, Leonard, Weill, Ambrosetti, Jobim, Carmichael, arr. Massimo Nunzi and Gianni Ferrio. Unit Records 4889

It is an exciting and appealing starting point for everyone involved: the large symphony orchestra is made up of around 100 expectant amateur musicians of all ages and abilities. On the podium is none other than the renowned conductor Vladimir Jurowski. The common goal of the 90-minute encounter is to rehearse three movements from Dmitri Shostakovich's Suite for Variety Orchestra.

This unique meeting between amateur musicians and star conductors is called an "open rehearsal" and will take place as part of the Berlin Orchestra Meeting at the Landesmusikakademie Berlin at the end of May 2019. In this case, "open" not only means that the rehearsal is open to the public, but also that all interested amateur musicians who have registered to take part in the Berlin State Music Council's orchestra meeting will be admitted. The term "rehearsal" is also to be understood literally, as the orchestral work does not culminate in a concert or a competition audition as is usually the case, but stands on its own.

Vladimir Jurowski doesn't seem to mind, on the contrary. "In this day and age, where everyone only communicates with their screens, making music together is more important than ever," says the Chief Conductor and Artistic Director of the Rundfunk-Sinfonieorchester Berlin before the rehearsal begins. It makes no difference to him whether the music is performed by professional musicians, in amateur formations or - as is usual in the Jurowski family - with relatives. "Amateur musicians are literally 'lovers' of music," he muses. "And that's what this kind of orchestral gathering is all about: coming together, listening to each other, making music together." He doesn't hide the fact that he would have chosen a classical piece rather than a work by his compatriot Shostakovich to work with amateur musicians. But since the wish is there, he accepts the challenge and reveals: "For me, the appeal of this open rehearsal lies primarily in finding a common path from the first performance to the last play-through of the work." What this path would look like and where it would end, well, that too is literally "open".

The first performance of the well-known march from the Suite for Variety Orchestra quickly made it clear that the designated General Music Director of the Bavarian State Opera would not be facing the highest level of perfection. Certain aspects, such as rhythm or intonation, made it clear that the majority of the musicians in the foyer of the Wuhlheide Leisure and Recreation Center in Berlin were amateurs - with the exception of individual string players who belong to the Rundfunk-Sinfonieorchester Berlin.
 

For the participating musicians, it is extremely fascinating to experience the decisive details that the Berlin-based conductor works on briefly but purposefully to bring the work together into a whole: Sometimes Vladimir Jurowski rehearses for several minutes with just the strings, then he asks the trombones to build up individual chords before taking apart individual passages in the alto saxophones or instructing the trumpets on dynamics. He knows how to captivate even those musicians who are not currently playing. Time and again, he intersperses exciting background knowledge about Shostakovich's situation as an "ostracized composer" in the Soviet Union or expresses his tonal objectives in vivid language or stimulating gestures.

While some of the musicians are primarily taking part in the rehearsal to play parts of Shostakovich's Jazz Suite, other orchestral musicians have traveled to Berlin especially to make music under the famous conductor. But as diverse as the demands and intentions of all those involved may seem at the beginning of the rehearsal, in the end everyone in the ad hoc orchestra enthusiastically accepts Vladimir Jurowski's instructions and seems to really enjoy his clear approach and precise rehearsal work.

The final performance of the March, Little Polka and Waltz No. 2 leaves behind a large group of euphoric amateur musicians who, in the hour-long rehearsal under Vladimir Jurowski, have not only traveled an unforgettable path together, but also an unforgettable musical and interpersonal journey.
 

Nadir Vassena - Cosa significano veramente "digitale", "digitalizzazione" nell'ambito musicale artistico e didattico? A questa domanda i più rispondono con degli esempi di applicazioni. Also interno della Scuola universitaria del Conservatorio della Svizzera italiana ci sono esperienze che sfruttano le possibilità offerte dalle cosiddette "nuove" tecnologie. Se già da anni gli studenti le adottano - per esempio per registrarsi e valutare a freddo l'esecuzione di un brano (o la gestualità, nel caso di un aspirante direttore d'orchestra) - le prime iniziative originali per integrare musica e tecnologia sono quelle sviluppate da Spazio21, l'unità che si occupa della realizzazione di progetti interdisciplinari e attività legate soprattutto alla creazione contemporanea. I nostri progetti partono da esigenze molto concrete. For example, in the didactic field, we have developed a program for l'ear training, modellato sulle richieste del nostro corso di ascolto per il bachelor e modificabile in base al livello di preparazione e alle necessità di apprendimento del singolo studente. Dopo la realizzazione di un primo prototipo (TiAscolto) distribuito come software, stiamo ora portando il prodotto sul web (SOLO: ear training web app) grazie alla preziosa collaborazione con il Software Institute della Facoltà di Informatica dell'Università della Svizzera italiana. Il materiale, in continuo aggiornamento, è liberamente disponibile sulla piattaforma empiricalbox.ch.

Ma la digitalizzazione non è solo un insieme di tecnologie. For music, the advent of digital has represented an epochal change. Il settore è stato tra i primi in cui la conversione dall'analogico al digi- tale ha comportato non solo una modifica della tecnica impiegata per rappresentare il segnale sonoro - anche le partiture! - ma, di conseguenza e progressivamente, di tutta la produzione, la distribuzione e la fruizione. Of molti di questi processi non si è spesso consapevoli. On the one hand, the digital format offers new opportunities for creation, transmission, diffusion and distribution, but at the same time it is important to realize that these operations - for example, the analog/digital transcription catena - are not necessarily neutral.

Per rendere attenti ai cambiamenti di paradigma in atto nella creazione e ricezione della musica elettronica - che in grandissima misura vive proprio dello sviluppo tenologico degli ultimi decenni - è nata EAR: Electro Acoustic Room, una serie di concerti dedicati alla musica acusmatica. Ormai giunta alla quarta stagione, questa coproduzione fra Conservatorio e LuganoMusica si concentra sul repertorio di musica su supporto che, proprio grazie alle facilità offerte dal digitale, è possibile diffondere e spazializzare efficacemente. Un compito complesso quello della diffusione, che richiede un'attenta interpretazione dell'opera e che trasforma ogni altoparlante in un vero e proprio strumento musicale. To do all this in a way that meets our specific requirements, we have developed a software that, concert after concert, we continue to perfect, always convinced that the "digitalization" of training goes hand in hand with the acquisition of the expertise of the technologies that surround it.

Nadir Vassena

... è Professore di composizione alla Scuola universitaria di Musica del Conservatorio della Svizzera italiana e Responsabile di Spazio21.

 Timo Waldmeier, what does digitization mean to you individually?

For me, digitalization means centralization, dematerialization (in terms of notes) and greater speed in the procurement of information, notes and communication. At the same time, however, it can also lead to a loss of reference to reality and to the material.

Where do you see the dangers and benefits of digitalization in the context of musical education or musical practice?

I think the danger of digitalization is that it can massively increase our stress levels by making us too accessible and enabling us to organize ourselves too quickly. So I try to take advantage of the efficiency and centralization of digitalization. However, I have to make sure that I organize non-working and unavailable times much more actively and incorporate them into my everyday life in order to defy their "dangers". 

Timo Waldmeier

... studies choral conducting at the University of Music FHNW Basel.

Michelle Süess, how has digitalization changed your life in recent years?

On the one hand, digitalization has changed the way I communicate: Due to the fact that most of my communication takes place via emails, text messages and messaging apps, all of which can be operated using a smartphone, I have increasingly felt the expectation for a quick response (from me, but also from my counterparts) increase in recent years. On the other hand, digitalization makes it easier to access specific information and to manage documents. I am really grateful that I can find specific information for research work, for example, not (only) by poring over books for hours, but also by searching and researching on the Internet. I also find it very practical to always have my documents such as teaching materials, work materials etc. with me on my laptop without always having to search for everything.

What influence does digitalization have on your studies or your career?

As there is a lot of communication via email and sometimes via Moodle, it is sometimes difficult to keep track and filter out what is really important. For example, for me personally, homework/information communicated by email gets lost more quickly than that communicated in class. Digitalization also has an impact on the communication of advertising for concerts/performances/events. The use of digital platforms and media for distributing flyers or inviting guests is very effective and has become very important. Digitalization is used a lot in the area of ear training. For example, melody dictations can be played individually on a device. The teacher does not need to play the melody on the piano every time and the students can complete the dictation at their own pace.

Michelle Süess

... is studying for a Bachelor of Arts in Music and Movement at the Basel University of Music FHNW.

Patrick Müller - Estelle Lacombe studied at the universities of Zurich and Paris - but without having to move from her home in Lauterbrunnen above Interlaken. This was in 1951 - if only in the imagination of a science fiction author, Albert Robida, who published his novel "La Vie Electrique" in 1890. In it, Estelle communicates and studies by means of the so-called "Téléphonoscope", a device that corresponds to today's video chat. What was still in the distant future at the end of the century before last has now become part of everyday life - not only on a technical level, but also in terms of how the broad and rapid availability of knowledge shapes relationships between teachers and learners. Digital media in particular enable access to knowledge from a wide variety of sources in a matter of seconds, and the possible authorities and canons have multiplied. Today's students, digital natives, know how to use this productively and as a matter of course.

For around six years, a group of musicians, artists and technicians led by Matthias Ziegler and Patrick Müller at Zurich University of the Arts (ZHdK) has been exploring the possibilities that can arise from telematic formats. In this project, rooms in geographically different locations are connected via the Internet in such a way that musicians (but also actors, dancers, etc.) can interact in real time over distance: A video chat, in other words, in which digital communication technologies are used in such a way that they also enable an exchange on a musical and artistic level. The project has been supported by the SNSF in recent years. Previous telematic concerts between Zurich and places such as Bern, Belfast, San Diego or Hong Kong have shown that only a careful approach can create artistically meaningful and valuable situations. Only the knowledge of technological possibilities and experience in designing the scenic arrangement of mediating image and sound media enables musicians to work together productively across geographical distances.

These experiences from an artistic perspective are now also being made productive for educational settings at the ZHdK. On the one hand, the use of telematic means and their aesthetics are themselves being taught via an online learning tool that is currently being developed. On the other hand, we are interested in uses that differ from the usual forms of mediation in online learning, which often have a one-to-many structure (webinars, for example, or MOOCs): In Few-to-few settings, for example, small groups from different universities can be brought together in improvisation lessons, and cultural differences between the various locations become a topic. Finally, one-to-one instrumental lessons have shown how instrument-specific the corresponding teaching environments need to be designed: In singing lessons, for example, the representation of the whole body is central, whereas cellists require an image setting in the video transmission that shows the bow movement from a representative angle. It has also proved valuable that the unusual setting itself leads to productive self-reflection on teaching practice, for both teachers and students. And it is important to develop training models that understand telematic individual lessons not as an exclusive, but as a complementary - and enriching - tool.

Patrick Müller

... is Head of Transdisciplinarity at the Zurich University of the Arts ZHdK.

Born in 1986, Andreas Zurbriggen is a classical composer and music journalist. Born and resident in Saas-Fee, he studied classical composition with Daniel Glaus at the Bern University of the Arts and musicology, history and art history at the University of Bern. Andreas Zurbriggen's musical language is rooted in tradition, but he integrates it into a contemporary context.

Zurbriggen composes music for a wide variety of ensembles: From solo piano pieces to compositions for orchestra and choir. His works have already been performed at several festivals (Forum Wallis, music festivals in Bern, Davos and Shanghai) and interpreted by renowned ensembles (Ensemble Phoenix Basel, Ensemble Mondrian Basel, flute quartet Tétraflûtes, Russian Chamber Philharmonic Orchestra St. Petersburg).

Isa Wiss impresses as an "extraordinary vocal artist and performer", writes the city. Her versatile artistic work "expresses the versatility of her voice as well as her virtuosity, creativity and curiosity". From opera to jazz and folk music to noisy improvisations, she is a convincing performer in all genres.

In recent years, Isa Wiss has conceived and realized several elaborate children's music theater productions. The most recent project "Die Wörterfabrik" is a collaboration with the musicians Vera Kappeler, Peter Conradin Zumthor and Luca Sisera. In "Wörterfabrik", Isa Wiss combines her playful musicality with her virtuoso handling of language. Isa Wiss enjoys national resonance both with her own projects and as a sought-after guest musician.

Can an amateur choir create an entire concert evening from "nothing"? The Basel choirs have taken up this challenge Culture and people and bâlcanto and the Youth choir ATempo! of the Basel music school improvising. The result of the long and sometimes arduous "journey" was an hour-long performance: it was touching and funny, but sometimes also left the audience somewhat perplexed.

According to the concept of project manager Johanna Schweizer, the three choirs received a "free pass" from the Gare du Nord and the Kunstmuseum Basel to perform in the exhibition. Basel Short Stories. From Erasmus to Iris von Roten to gather inspiration for a work to be developed. Three new pieces of music have been created in various stages, known as "looping journeys", since April 2018. This process required a great deal of courage, for example when swimming in the Rhine. Sännelä hojahoo had to sing.

The choir members were supported on these adventures by three cracks from the improvising music scene, vocal performers Christian Zehnder and Andreas Schaerer and singer Isa Wiss, who guided the choir members through an almost endless sea of sounds and creative possibilities. "For many of the participants, the improvisational freedom was a great challenge, in which some of them felt lost, especially at the beginning," explained Schweizer.

In addition, the choirs were to find a way to record the newly developed music on paper - an approach to graphic notation. The result turned out differently, however, as the evening was guided by video sequences by Paula Reissig, which calmly and cleverly set the beat and content - improvisation and structure were intended to complement each other, especially as there were no texts, which made it somewhat difficult for the audience to understand.
 

The themes chosen reflected the character of each choir in a striking way, allowing them to bring their strengths to the performance. The evening began with the Kultur und Volk choir, which performed to the movie Frick and tails improvised on the Basel ice skating duo Werner Groebli and Hansruedi Mauch. Fittingly, Christian Zehnder, who specializes in new alpine music, acted as coach.

Photo: Ute Schendel

Choir Culture and People with Christian Zehnder

Reissig's video showed less the capers of the figure skating heroes than the audience cheering them on. Coherent, revolving, sometimes somewhat lengthy sequences, which the choir accompanied with playful movements and sound fragments: Divided into three groups, they clapped, murmured and "sang" in rhythm. It was a sequence initiated by images that culminated in a yodelling song, the "Zuger".

The choice of the youth choir ATempo!, which, under the direction of Andreas Schaerer, explored the inventor of LSD, Albert Hofmann, proved somewhat more difficult. Lying vocal lines based on minimal music accompanied and accompanied video recordings showing abstract frequency curves or laboratory views with a spinning metal barrel. So there was little development, lengths were actually pre-programmed.

Photo: Ute Schendel

Andreas Schaerer and the youth choir ATempo! of the Basel Music School

To get in the mood for their project, the young people researched traffic noises on Wettsteinplatz or improvised to "intoxication and delirium" at Badischer Bahnhof. As a result, two young choristers said that they would now sing more courageously, "no matter what the others think". Together, the choir succeeded in setting the inner processes in motion, for example by passing each other crosswise with rising and falling vocal curves, with dissonances and consonances.

Under the direction of Isa Wiss, bâlcanto, an international choir, took the audience into a completely different world. It chose the civil-religious aspect of the 1912 Basel Peace Congress, an abstract theme for which photos were available, but no "moving images". Nevertheless, the performance became a successful "demonstration" thanks to a choreographed sequence of movements and the new video sequences.

Photo: Ute Schendel

bâlcanto

Out of nowhere, the actors trudged onto the podium, began to mumble quietly and then louder and louder, scraps of words such as "justice" or "people" whizzed through the air and in the hullabaloo, a woman began to croak loudly. A touching chorale developed in between. The piece ended with a bell improvisation, to which all the participants gradually took to the stage.

This was followed by a final improvisation, during which one slightly missed the video recordings that provided the framework. For the participants, however, this ending was probably particularly important, as one choir singer put it: "The coming together of the choirs! What an inter-generational project!"