Anderhalden runs an agency for concept and design in Sarnen. In recent years, he has been regularly involved in projects in various cultural sectors and, according to the canton's press release, has already worked to promote the exchange and networking of the various players in Obwalden's cultural life as president of the Förderverein Kreativität OW.

The 29-year-old musician Antonia Gasser grew up in Alpnach. After training as a teacher and working for several years, she is now studying at the Lucerne University of Music in the jazz department (majoring in singing). Gasser sings in rock and cover bands, jazz standard duos and a cappella formations and works as a conductor of various yodeling formations.

The Klingendes Museum in Bern actually specializes in wind instruments. But due to the current situation, visitors can try out the touch-free theremin. Pitch and volume are created with hand movements in magnetic fields.

For hygiene reasons, you can follow the video guide on your private tablet or smartphone.

The museum is open from Wednesday to Sunday afternoons from 2 to 5 pm.

Further information:
www.klingendes-museum-bern.ch
 

Beethoven wrote neither Children's pieces another Album for the youth. Unlike in the 1840s with Mendelssohn (op. 72) and Schumann (op. 68), in the first decades of the 19th century children and childhood had not yet acquired the emotional and social significance that we are so familiar with today. And yet Beethoven presented Maximiliane Brentano (1802-1861), who was just ten years old, with a piece composed on June 26, 1812. Allegretto with obbligato accompaniment of violin and violoncello on the piano - neatly written in the autograph, with fingerings and a dedication: "for my little friend Maxe Brentano to cheer her up in the Klawier games."

Even small hands can master it musically and technically, the 124-movement movement seems like a supplement to the series of multi-movement piano trios within Beethoven's oeuvre, which had already come to an end in 1810/11 with the Archduke Trio op. 97 and was never taken up again. Nevertheless, it is much more. With its supple diatonicism, it seems to reveal a "different" Beethoven, who was a frequent guest of Antonie Brentano (1780-1869) and her daughters in the period between their first meeting at the end of May 1810 and the summer of 1812. According to a diary entry, Antonie, who had been settling her father's extensive estate in Vienna since 1809, soon felt a "Elective affinity", in 1811 he was her "became one of the dearest people", who (as she later put on record) "Frequently uninitiated guest" had been. There is much to suggest that Antonie, for her part, could have been Beethoven's mysterious "immortal lover". Everything else lies in the realm of speculation, especially as Beethoven apparently became a friend of the whole family (including husband Franz).

Also as a reminder of this time, Beethoven sent Maximiliane, now an adult, a copy of his Piano Sonata in E major op. 109 on December 6, 1821 with a dedication that testifies to his personal attachment: "To Maximiliana V. Brentano - A dedication !!! - Now it is not one such as is abused in multitudes - it is the spirit that holds noble and better people together on this earth, and no time can destroy it, it is this that speaks to you now, and that shows you to me still present in your childhood years, just as your beloved parents." However, Beethoven forgot to mention who had accompanied the Allegretto on violin and cello at the time ...

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Link to the project homepage "52 x Beethoven"

Interview: Cornelia Suhner - Our founder and Honorary President Pia Bucher, a kinesiologist for many years, has been directly affected by the massive restrictions on therapy services. In this interview, she gives examples of what this means for professionals like her, both professionally and privately.

Pia Bucher, you are a complementary therapist and work with musicians. What issues do they come to you for therapy with?

In the music industry, you are exposed to numerous stress factors that can lead to job-specific physical and psychological complaints. Typical issues include stress during performances, criticism, time pressure, muscle tension, posture, breathing and, in the case of brass players, embouchure dysfunctions. In the case of focal dystonia, we work together with SMM specialists on an interdisciplinary basis.

Why did you specialize in music as a kinesio-logist?

As a professional musician myself, I struggled with focal dystonia and had to give up my career for medical reasons. I therefore decided to found a musician's medical institution: that was the birth of SMM in 1997. My aim was to provide help at an early stage and to offer a central point of contact and advice for musicians' medicine in Switzerland. At that time, I completed body-oriented further training and training as a kinesiologist.

Music Kinesiology MK is a special field of applied kinesiology that deals with practical music issues and stress reduction in musicians. After many years of experience as a stage performer and instrumental teacher, this was the right approach for me. My work today - supplemented by further training in music medicine - includes retraining for brass dystonia and performance coaching for musicians.

Due to the professional ban in force until the end of April, there are severe restrictions on the care of clients. Protective measures and practice hygiene are still mandatory. How have you personally experienced the lockdown?

One positive sign was the sudden calm in everyday life and the deceleration. In the world of music, the usual everyday stress and pressure was suddenly gone: no concerts, rehearsals, auditions and no more traveling. Therapy sessions were suddenly no longer urgent - there were no more "acute cries for help" due to performance stress or musical complaints. My clients took much more time to practise and deepen the new practice structures, to rehearse concerts in peace... Where necessary, further measures could be discussed over the phone.

Have the topics and questions of those affected changed during the lockdown?

Corona has paralyzed the music scene - there is a great deal of uncertainty.

Many freelancers are experiencing existential hardship due to the loss of income.

New topics are: financial situation, existential fears and future prospects or the stress of unfamiliar online teaching or face-to-face teaching with distancing rules.

What consequences and after-effects do you expect for your clients and for you as a therapist?

A general rethink is taking place. Innovative concepts are in demand. The challenge demands flexibility and creativity in all areas.

Can you take anything from your therapeutic or personal experiences during this time into the "new normal"?

Slowing down is a valuable enrichment. It creates space to try out new possibilities or initiate your own creative processes. Innovative impulses - such as online training or supplementary forms of teaching - give rise to trust and confidence in the potential of digitalization.

Website of Pia Bucher:

> www.sana-musica.ch

George Marti - "George & Jam", a weekly concert series, had just got off to a good start when the big lockdown was declared on March 16: All the jams were organized until the end of May, my last pedagogy exams for 1 April were perfectly prepared, other gigs, events, projects and the vacations were planned. And then the lockdown! Everything came to a standstill. Everything was ready. Canceled. Suddenly it was just me and my music. A new adventure.

After a short time, the ZHdK started distance learning. And it was fun! Have you ever experienced drum sessions with flip-flops and wooden boxes? It sounded fan-tastic. All resources were used and evaluated. The unique online after-work beer meetings organized by the Rectorate were also new. There were some great conversations, everyone was finally there again and was able to compensate a little for the lack of inspiring moments in the Toni Areal. It was the daily contacts, the exchanges, the rehearsals with the bands, all the people I missed. I have always appreciated the good collaboration with the ZHdK lecturers in individual, ensemble and big band lessons. During the virtual collaboration, I experienced very intense attention and a mutual sense of responsibility. These precious moments gave me a lot of trust and confidence. Suddenly I was spending time on the exercise bike almost every day or enjoying coronavirus-compliant walks in nature. For so long, there had been too little room for exercise in everyday life. I felt good. By chance, I met old friends at the edge of the forest who I hadn't seen for many years. I was surprised again and again. By the new everyday life and by me.

I was able to decide spontaneously, work intensively or consciously enjoy a break in the sun. This gave me time to plan my second Master's project alongside my studies or to continue working on the post-production of "Playas". Finally, Pastor Andreas Maurer invited me to conduct an online service for the Reformed Church in Zug. I improvised in the workshop of Zugerland Verkehrsbetriebe on the topics of "Being on the road", "Appreciation", "Resilience" and "Farewell". It was a special commitment that meant a lot to me personally. At the same time, it was the end of the lockdown for me. I suddenly felt the relaxation, the measures had worked, the pause, the perseverance and the further development had paid off.

I am in regular contact with my clients and I can resume the jams. As soon as the situation allows, I start to rebuild. New approaches have emerged. Concerts and cultural events are returning, cautiously and on a small scale. But good and strong. We will play live again and everyone will feel a new, deeper lightness and joy.

George Marti

... is studying jazz and pop music education at the ZHdK.

Jonas Inglin - Looking back, it feels like everything happened so quickly. At first, with the first news from Wuhan, I was gradually overcome by uncertainty, which I initially paid little attention to. But barely a week later, I became more aware day by day that this coronavirus would definitely affect me too. At first, people were still talking about what precautions needed to be taken in order to hold concerts, and some concrete measures were even already being planned. But with the Federal Council's press conference on March 16, it quickly became clear that none of this was realistic, and my dark premonition was confirmed: I wouldn't be leading a rehearsal, playing or conducting a concert in the near future, and I wouldn't be teaching for the time being either.

From then on, I experienced a rollercoaster ride in many ways: my general mood, my motivation, my sense of security but also my self-esteem - everything fluctuated. Although I am in a very comfortable situation (my income is not too badly affected thanks to various permanent jobs, my housing situation is fantastic and I have the opportunity to practice for as long as I want), it has not always been easy. Some projects that I was really looking forward to were canceled or postponed, including the tour with the duo Amstad Inglin, which was particularly close to my heart. I began to ask myself why I should practise at all if I wasn't going to play in the near future anyway, indeed, why I should do anything at all if everything around me was practically at a standstill.

I have found various answers to this. Probably the best one is that you can do activities for the sake of doing them. I really enjoy playing the trombone, so I don't really need another reason for it. A banal, seemingly obvious realization, and yet I had forgotten it in the meantime: I like being a musician because I like playing. Of course, it's nicer to play with fellow musicians, with an audience, with applause, with beer after the concert. But even alone, without an audience and just for yourself, it's something wonderful, and I hope that as many people as possible can take away such a beautiful realization from this crisis.

Jonas Inglin

... studied at the HSLU - Music Profile Classical, followed by a Master of Arts in Music Education with a minor in Jazz Performance.

Fabian Ziegler - Instead of concerts, lessons and lectures, Zoom meetings, unfamiliar practice environments and loneliness dominate the everyday lives of us music students. The corona crisis and its restrictions are hitting the creative scene particularly hard. For us as the Colores Trio, this is also a special moment with special challenges. Despite everything, we are trying to make the best of the given circumstances and are thus unexpectedly productive - albeit on completely different levels. Social distancing hits us as a chamber music ensemble like an Achilles' heel. Until recently, we couldn't even begin to think about big concerts, productions and our own goals. Streaming via social media channels is little consolation. The motivation to practice productively also waned rapidly within the first few weeks. At the same time, however, completely new areas away from the instrument quickly opened up, which otherwise often receive too little attention in everyday life. Administrative topics such as website design, public social media presence, enquiring about offers from streaming services, current CVs, good photos... a general overhaul of the ensemble's structure. This long period of holding out has also given us plenty of time to formulate new goals, discuss issues in the music industry and, above all, share our ideas and opinions. In short, we have made great progress again, and the path to be taken in the future is clearly set out before us. However, this time, which presents us all with enormous challenges of all kinds, also offers us the chance to get rid of the hectic pace of everyday life and get back on track with renewed motivation. We are looking forward to making music together again and are also looking forward to the upcoming concerts.

Fabian Ziegler

... studies percussion instruments (Master Music Pedagogy - instrumental/vocal music pedagogy - classical music) at the ZHdK.

Sandro Erni - I first heard about COVID-19 in January, but of course I would never have guessed that it would have such an impact on my musical life. When the number of cases suddenly increased in Italy in February and then in March the concerts I wanted to attend and the ones I was supposed to play in were postponed or canceled, I realized that this would have a major impact on my musical work.

The university kept us regularly informed by email. We also heard about many of the measures through the Federal Council's press conferences, such as the ban on events and school closures. I remember when, after three hours of composition lessons, I received the push notification announcing the school closures, read it and realized that the next few weeks or months would probably not be the same as usual.

My musical life has changed a lot in some areas, but has also remained unchanged in others. The most drastic change is that I am not allowed to have face-to-face lessons with my professor until July 31. As I already had a good microphone before the pandemic, my professor can understand how I play reasonably well. However, many aspects are lost through online lessons: for example, the small nuances that are essential for music, whether in the sound or otherwise in the music, which cannot be transmitted via a microphone. What bothers me most about online lessons is that there are sometimes small connection problems with Zoom, which the program tries to make up for, making it difficult for the other person to understand the rhythm due to the resulting tempo fluctuations in the transmission. Surprisingly, I didn't have a lack of appearances during this time. I was able to play in various tele-worship services. This was good for not losing my performance routine, and I would like to say a big thank you to all the parishes, as they still made it possible for many musicians to perform even in times like these.

What I regret very much, however, are the extra-church engagements that suddenly disappeared. Especially the chamber music activities, but also various orchestral concerts with programs that I had been looking forward to for some time. It's a shame not to be able to present the newly created works to an audience.

I am pleased and relieved that the number of cases in Switzerland has stabilized very well, that the healthcare system has not been overburdened and that these relaxations are now possible. It is understandable that the university management has canceled face-to-face teaching until the next semester so that foreign students have had the opportunity to return to their families. However, I very much regret that face-to-face teaching will remain restricted until August, even though more would be possible in terms of relaxation. Basically, as a 17-year-old, I don't see myself in a position to criticize others. But I have two wishes: I hope that normal face-to-face teaching will be allowed again as soon as possible, as the students and professors who are on site would have the time and the space to do so. And I hope that innovative formats such as those I have personally experienced through my involvement in the church sector will continue to take place and offer many musicians a certain amount of support in similar crises.

Sandro Erni

... studies trumpet, is a junior student at the PreCollege Music of the ZHdK and attends the Rämibühl Art and Sports High School in Zurich.

Catalina Paredes - I come from Santiago de Chile, a city with almost six million inhabitants, where many different realities come together. South America has an incredible number of facets, social distancing is practically non-existent there, people always greet and say goodbye with kisses and hugs. There is also a lot of dancing and there is hardly any space between the many people on public transport. The year 2019 ended with many social tensions in South America, and poverty is more noticeable as a result of the climate crisis. But our stories are always full of difficulties, and we are used to crises - we always get up again.

In January, I heard that the university had instructed students from China to stay at home. When a fellow student traveled to China in February, I brought him his double bass to the train station - and that's when I realized it was serious. Then everything happened very quickly. When the closure of the Toni-Areal (for me like my home) was announced, I took everything I had there with me: Sheet music, plants, bows, clothes - and of course my instrument. The announcement on March 27 that foreign students should travel to their home countries as soon as possible sent me into a panic. I started to think about everything to do with the journey home: to fly or not? Give notice on the rented apartment? What do I want? What can I do? Well, I stayed here and spent the rest of the following three months alone at home practicing. Normally I have a lot of rehearsals, and for me there is no better mission than playing the bass line in an ensemble. Since March, however, I have never played with anyone else. There were very productive weeks and others that were just awful. And at some point I didn't feel like eating instant soup every day anymore. I was glad that the university provided various links for psychological or financial help during the crisis. What strengthened me the most was the incredible humor and energy of my teachers Wies de Boevé and Duncan McTier. They did everything they could to make me feel good, they even organized master classes!

Now I'm glad that things are easing. I'm still a little worried that there will be another outbreak, but I remain optimistic that the situation in Switzerland will continue to improve (unfortunately, I can't say the same about my home country). I can finally plan again, meet colleagues, have a beer. But I think that nothing in me will ever be the same again. I don't want to be afraid, but I want to walk through the world more consciously. I am happy and grateful to live and study here. Nevertheless, I ask myself whether it's all worth it? Being so far away from home in a crisis like this? But my answer for now is yes, even if my heart is in Chile.

I've learned a lot in the last few months: how fragile everything is, how important communication is, how valuable physical contact is, but also how wonderful loneliness can be, how undisciplined I am, how globalized the world is, which people really care about me, how much I miss my mom and that it's time to have a boyfriend. The only thing I have for sure in my life is music and my double bass. Now working in chamber music groups becomes much more valuable, and maybe it's a chance to get music out of the theaters. Music needs a fresh audience, we need to bring classical, modern and contemporary music closer to people. A concert is not only a moment of relaxation, but also a moment of learning. My wish is that all people in the world have a home, love and are loved. That states and nations take our planet seriously and that we understand that it is more important to invest in science and health services than in weapons and war material. The current level of globalization allows us to better understand the origin and purpose of everything. But it is not that we need more, it is that we can live in peace with less.

Catalina Paredes

... studies double bass (Bachelor Music - Classical - Instrumental/Vocal) at the ZHdK.

Jörg Andreas Bötticher received his musicological training in Basel. He has been a lecturer in harpsichord, basso continuo and chamber music at the Schola Cantorum Basiliensis of the FHNW School of Music since 1997. He has been organist at the Predigerkirche Basel with its three historic organs since 1996.

Bötticher's research focuses on basso continuo-oriented composition and performance practice, questions of musical aesthetics and the music of the Italian early Baroque period up to Johann Sebastian Bach and his successors. He is particularly dedicated to lesser-known composers, whose works and musical networks he researches, edits and makes accessible for performance. He has distinguished himself in particular for his research into the basso continuo, which forms the foundation and harmonic framework of music from around 1600 to around 1800, as well as for his practical approach to the performance of Baroque compositions.

The Science Prize of CHF 20,000 is awarded annually and on a rotating basis by the seven faculties to researchers who have a connection to the University of Basel and have distinguished themselves through outstanding scientific achievements.

Born and raised in the English region of Cumbria, where his mother was a singer and his father an organist and choirmaster, Hubert Harry began playing the piano at the age of two and a half and performed Rachmaninov's famous Prelude in C sharp minor at the age of four. As a teenager, Hubert was entrusted with various important musical tasks in his native England until he came to Switzerland at the age of just 19 to study with the famous pianist Edwin Fischer. The latter ran a master class at the Lucerne Conservatory, which had only been in existence for four years at the time (founded in 1942, during the war, by the Lucerne lawyer and music connoisseur Walter Strebi, among others). In Lucerne and on Lake Lucerne in Weggis/Hertenstein, Hubert Harry was able to meet Rachmaninov's widow, which was a particular honor and pleasure for him as a great admirer of this composer.

Thanks to Harry's life in Lucerne and his contact with the conservatory there, he became a teacher himself at this institute just a few years later, to which he would remain loyal for decades. Countless piano students (including myself) went through Harry's school, which over time began to radiate beyond Lucerne. In his class, you felt so much at home musically and personally that when you left this "Isle joyeuse", you first had to get used to the rest of mundane life again. His wife, Heidi Harry, also an excellent pianist, also made a significant pedagogical contribution, for example by supervising the methodology courses. (She was also a teacher of the pianist-trained Federal Councillor Sommaruga).

Although the main focus of Hubert Harry's musical activity was teaching, there were occasional major concert events, preferably in Switzerland. The rarity of these concerts made them special highlights, often even great moments. Fortunately, many of them are documented and accessible in successful recordings. Harry's programs were mainly devoted to the great international concert literature. However, his interpretations of the much-played literature have never had to shy away from comparison with (so-called) world-famous pianistic greats - in fact, the opposite is the case ... With individual performances, Harry succeeded in setting binding standards that have hardly been equaled, let alone surpassed.

This may come as a surprise, given that Harry's work remained so limited and never achieved the broad impact it deserved - probably also because this was not a concern for Harry in his genuine humility and dedication to music. But true great art is very often hardly recognized as such at first and only appreciated posthumously (in which Harry is admittedly in good company). It remains to be seen whether Harry's deserved world fame, if it were important to him, will come to pass. With today's technical and digital possibilities, it is conceivable. Until then, his growing circle of followers will remain a privileged community of insiders.

Current

On Saturday, July 4, 11 a.m. to 4 p.m., the Lucerne School of Music will be holding an event at Dreilinden to bid farewell to its current location before moving to the new building at Südpol Luzern/Kriens. Patrizio Mazzola will play and comment on works in memory of Hubert Harry and Caspar Diethelm, who both worked at the school for a very long time.

Link to the review of the book
Hubert Harry, pianist. Fragments of a life

Who does not know Oh, dear Augustine! The term "Wienerlied" dates back to the urbanization of the city of Vienna after 1850, when people began to miss the original and popular. Like the Berlin Gassenhauer, the Wienerlied is a genre in its own right: humorous, melancholy, but also mocking and cheeky, it sings of easy living and transience. It flourished until the 1930s and after the Second World War until the 1980s. With the increasing cancellation of broadcasts of Viennese songs on Austrian radio ORF, it lost its broad appeal and is unfortunately almost unknown to younger media audiences today.

In order to prevent these character songs from being completely forgotten, Günther Mohaupt has published two volumes of the best-known of them for mixed four-part choir with piano accompaniment (ad lib.) with Doblinger-Musikverlag. His choral versions are very successful because they are simply set, but nevertheless always show a lot of tonal variety despite their uncomplicated execution. A fine addition to the repertoire for choirs.

Wienerlieder for four-part mixed choir, a cappella or with piano accompaniment, set by Günther Mohaupt, Volume 2, piano reduction, D 42 903, € 39.95, Doblinger, Vienna

What do portraits of great musicians tell us? The German musicologist Ute Jung-Kaiser has always included image research (iconography) in her monographs on Mozart, Beethoven, Chopin, Schubert, Wagner and others. Now she presents an illuminating volume on the subject: The ideal portrait of a musician. From Luther to Schönberg. The book is almost 530 pages thick and heavy, and the paper quality has to show off the pictures to their best advantage.

The introduction is made easier by the division into 24 portraits, and once you get into the subject, you will enjoy reading it. The selected pictures of famous and intensively researched composers from music history provide interesting and essential information about their personalities and the reception of their music. It is a pity that not a single female composer is included.

Jung-Kaiser chooses a portrait of the mythical singer Orpheus as the starting point for her study, the ideal of the musician par excellence, as he is able to overcome death by singing for his beloved. His portrait serves as a role model and becomes a prototype for the musicologist. Her choice of images is characterized by the basic question: Which of these portraits get to the heart of the matter? Which ones say something about what defined the artist's personality? According to Jung-Kaiser, the optimum that a portraitist can achieve is when the picture "sounds". The painter Franz Nölken (1884-1918), for example, achieves this in his portrait of Max Reger: "Nölken masterfully captures Reger, who is completely focused on his work in a summery, sunny atmosphere, in a composition of color surfaces and impressionistic treatment of light."

An oil sketch by Isidor Neugass (c. 1780-1874) entitled "Color surface composition" shows us that it was not only discovered by the Impressionists. Joseph Haydn composing. The play of light in the warm colors (brown and gold) evokes an aura, a musical sound space in which Haydn sits at his desk in a pensive, inward-looking pose. The astonishingly lifelike wax bust, created around 1795 by Franz Christian Thaler with Haydn's real hair, appears soulless, even banal.

Jung-Kaiser repeatedly includes the death masks of the artists in her observations, the last lifelike image of the face. And especially in the modern era, self-portraits of composers are also considered: Arnold Schönberg, for example, often painted himself, or then the very talented draughtsman Paul Hindemith. This provides an insight into the composers' self-image, which the author is able to reveal with unerring quotations and knowledgeable descriptions of each portrait subject.

In this way, inside and outside views come together in a confined space, images are compared and evaluated in terms of their message, and we get surprisingly close to the essence of these brilliant people. The less representation and pathetic idealization in a portrait, the better, writes Jung-Kaiser. This book thus offers interesting aspects of the reception of the music and the personalities of those portrayed that have only been marginally addressed in research to date.

Ute Jung-Kaiser: The ideal portrait of a musician. From Luther to Schönberg, 528 p., over 350 illustrations, € 82.00, Georg Olms, Hildesheim and others 2019, ISBN 978-3-487-15792-4

It is not a renowned Swiss performer, but the little-known pianist Berkant Nuriev, born in Bulgaria with Turkish roots, who is responsible for some of the most original recent repertoire enrichments. He has lived in Bern for a quarter of a century, where he trained as a soloist, chamber musician and song accompanist at the University of the Arts under Rada Petkova, Erika Radermacher and Bruno Canino. His wondrously entertaining CD Tour romantique de Suisse leads through the tourist Switzerland of the late 19th and early 20th centuries.

Lots of out-of-print piano pieces, which Nuriev has tracked down in archives and libraries with an irrepressible thirst for discovery, evoke memories of popular travel destinations between Lake Constance (Wilhelm Baumgartner: At Lake ConstanceRomance) and Lake Geneva (Johannes Wolfensperger: On Lake Genevapolka). In his first recordings, the pianist brings all these tourist sites to our ears in their musical reflections.

The absence of the concert etude, for example At the Giessbach by Joachim Raff or suitable pieces by Johann Carl Eschmann, a pupil of Mendelssohn's from Winterthur, the pianist makes up for this with long-forgotten travel pictures by a single foreigner. The Austrian Alfred Jaëll invites the listener to take a long break with particularly sophisticated impressions from Interlaken, Zurich and the Lauterbrunnen Valley (Pèlerinage en Suisse).

The journey continues with amiable miniatures by Helvetian colleagues Bernhard Bogler (Polka On the banks of the Limmat), Jacques Ehrhart (Valses luganaises) and the only Chopin pupil from Switzerland, Charles Samuel Bovy-Lysberg (Fantaisie sur des Airs Suisses). The shortest and at the same time most humorous souvenir, the piece lasting just under a minute Arosa ice rinkwas written by Heinrich Pestalozzi, who worked as a pastor in this Graubünden parish.

Berkant Nuriev masters the delicate balancing act between art and kitsch with bravura and an audible wink in the twelve rarities, in which nourishing virtuoso fodder alternates with easily digestible salon music.

With his already successfully published works for flute and clarinet Easy Jazz Studies for Alto Recorder Tilmann Dehnhard fills a gap in the recorder repertoire. His studies are intended to provide exemplary answers to the question of how to play beautiful melodies over familiar chord progressions and articulate them in a style that makes them "groove". The preface introduces jazz notation, explains the difference between straight and swinging eights and off-beat articulation, and explains gracenotes and other special features and conventions common in jazz.

The ten original compositions with a difficulty level of 3-4, one of which has an "easy version", then introduce the various jazz styles. Some of them are marked with the previously learned articulations and have been recorded by Tobias Reisige (recorder), Kai Brückner (guitar) and Marc Muellbauer (double bass) in an exemplary, if somewhat one-dimensional way. The accompanying CD offers full and play-along versions of the pieces in various practice tempos.

It would have been desirable to have some help on how recorder players can improvise or compose their own melodies, especially as some of the pieces presented here are based on the chord progressions of well-known jazz standards such as Georgia on My Mind or Summertime based. As an introduction to the world of jazz, however, the variously designed studies work very well and can provide the starting point for your own future improvisations by means of a play-along version.

Tilmann Dehnhard: Easy Jazz Studies, 10 easy compositions for alto recorder as an introduction to jazz, UE 37222, with CD, € 16.95, Universal Edition, Vienna

There are music publishers who complain about the continuing hardship of the business in the face of media change. And there are music publishers who simply publish something new and surprising. These include the Lyon-based Editions Symétrie, a publishing house that has focused its ambitious program primarily on French music and music history - and for this reason is probably hardly known in German-speaking countries. However, it is worth taking a look at the catalog, because it does not contain petitessen, but numerous (first) editions of works of great format, such as Vincent d'Indy's first contribution to the symphonic repertoire. Premiered in its entirety on April 14, 2005 (!) in Yerevan (Armenia) and already recorded twice (2007 and 2010), the score of the work is now finally available.

Writing with youthful fire, d'Indy (1851-1931) reflected on his own trip to Italy in this composition, written in 1870/72, which is already recognizable from the movement headings: Rome, Florence, Venice and Naples. Although the Scherzo, which is strongly reminiscent of Mendelssohn, was well received at a performance in the Concerts Pasdeloup, d'Indy had soon developed stylistically and refrained from printing the work, which today could represent a fine addition to the repertoire. The slow movement in particular, with its multiply divided strings, will not fail to make an impact.

However, the present edition would have deserved more attention from an experienced editor: this concerns the layout of the pages, the frequently changing accolades (e.g. p. 32 ff.) or the generously interpreted engraving rules. There is also a lack of information about the source(s) used, readings and any adaptations made. Furthermore, the edition does not consist of a bound volume, but of a bundle of three A4 booklets. The days when such an edition was only of interest to philologists and collectors are over.

Vincent d'Indy: Symphonie no. 1 en la mineur "italienne", score, € 70.00, Éditions Symétrie, Lyon, ISMN 979-0-2318-0233-7

The traffic light has long been set to red: The lockdown has plunged the event industry into a major crisis. With the easing of restrictions, there is now a "sense of optimism", as the organizers write.

On June 22, 2020, countless event locations throughout Switzerland will be illuminated in red from 10 p.m. to midnight. The motto of this campaign is: "Night of Light" - a shining memorial and a fiery appeal from the event industry.

For further details see www.nightoflight.ch