So far, no justification has been given for this measure, writes the Music Council in an open letter to the responsible federal minister. It is also not clear whether this is due to Covid-19-related hygiene measures or school policy considerations.

The Music Council can imagine that meaningful teaching (with class sizes halved anyway) is indeed possible. In any case, it finds this measure "incomprehensible insofar as it would be very important, especially at this time of year, to compensate for the enormous strain on pupils with regard to homeschooling and distance learning and the lack of emotional development due to social isolation and one-sided forms of learning!"

It is also unclear whether this also affects the compulsory subjects of instrumental music and singing (at ORGs and special music schools) as well as musicology lessons at special music schools and music grammar schools. This decision would also have to be coordinated and communicated with regard to music school teaching and teaching at conservatories. It is also questionable how this teaching ban should be dealt with in elementary school, where music is seen as part of the overall integrative teaching and as an educational principle.

The following can be used as a guideline: Individual lessons are possible with a safety distance and compulsory masks, measures such as partitions are required for singing and wind instruments, singing and making music in small groups depends on the size of the room (safety distance of at least 1.5 meters). Otherwise, music lessons can take place as usual.
 

Susanne Abbuehl - Everything happened in quick succession: on March 11, jazz bachelor concerts took place. We were relieved that we were able to meet the federal government's requirements at the time and that the students were able to play the concerts as planned: "Carte Blanche" concerts shortly before completing their Bachelor's degree, with the opportunity to show where they could go artistically. On Friday, March 13, we learned that we would have to forego in-person classes until further notice. Within a week, we changed the entire course of study. Listening, interacting, sound nuances and room acoustics - how was studying music at a distance supposed to work? Of course, blended learning was already a topic before Covid-19, and many lecturers also interacted with students digitally. However, this was always in addition to face-to-face teaching, which we all regarded as an irreplaceable core element.

In recent weeks, teaching has had to be reinvented. We were very well supported by the university management: the information was transparent and always followed the federal government's instructions promptly. Great commitment and concern were and are palpable. We are doing everything we can to stay in contact, even at a distance, so that we can continue to provide students with good support. At times, this brings issues into sharper focus that would otherwise be resolved in other ways: Practice opportunities, for example, or the financial viability of students. Here, too, we are looking for solutions and offering support options. At a distance, it became more important than ever to adapt teaching to the situation: Playing together at the same time was difficult during live broadcasts, but there was now an opportunity and space to make music unaccompanied and to record oneself more frequently.

In blogs, input videos and exchanges with each other, we learn from each other and focus on what nevertheless is possible. In the process, approaches to a new methodology and a more binding self-evaluation of the students become noticeable. Teaching becomes a joint project: how do we achieve this? together? Hans-Jürg Rickenbacher, vocal coach in the classical music profile, calls the new format of his lessons HomeVoice. The student council, which was already active and innovative in sharing ideas before the virus crisis, uses all available platforms and immediately created a forum and archive in the form of a blog. Chiara Schönfeld, a Master's Performance student, also sees advantages in the variety of formats in which teaching is currently taking place. "I can work on the input videos from lecturers at my own pace and with more freedom in terms of time." She likes the fact that the lecturers show a personal style in their implementation. By sharing recordings, she has also learned to listen to herself in a more differentiated way and can better classify feedback.

The Music Library team will continue to ensure the basic supply of literature and sheet music for students, lecturers and researchers - with an electronic document delivery service, postal delivery and a wide range of media and corresponding support. Here, too, the aim is to ensure that our students are looked after (almost) as usual. Julian Dillier, Head of the Department of Music Education, says that the switch to video conferencing in management committees was abrupt, but that it works surprisingly well. The work placements pose a particular challenge. Despite school closures, not everything had to be postponed: Some students are developing new formats together with the internship teachers - a skill that will also help them later on.

Antonio Baldassarre, Head of Research and Development, is concerned with the possible impact of the Covid-19 lockdown on teaching and research. It is conceivable that new research topics will be opened up: Closeness and distance in music lessons, for example, are currently being redefined. He is also observing the creative solutions that are currently being developed in the arts and cultural industries and are generating new relevant research questions.

The topic of examinations is currently on our minds. The students rightly want a "worthy graduation", as Chiara put it. The public final concerts mark the start of their professional careers and make the many years of intensive work on artistic and musical skills audible. What insights will we take away from this intensive phase of learning? That will certainly keep us busy for a long time to come. The entrance examinations, which will take place in 2020 in a multi-stage process with video assessment and live connection, have been very positive so far: it is also possible to establish binding contact online. However, we believe that a physical presence is still essential.

Susanne Abbuehl

... is Head of the Institute for Jazz and Folk Music and a member of the Departmental Management, Lucerne School of Music.

MvO - What to do when the world falls apart at the seams? When clients and students alike despair, out of loneliness and existential fears? The KULT agency has existed at Bern University of the Arts for 16 years, enabling students to gain a foothold in the working world with performances and to think about self-marketing or portfolio careers. But suddenly the world is in a state of shock and the agency receives rejection after rejection - no more appearances at festivals, graduation ceremonies, weddings and funerals. The agency is in direct contact with various target groups from all generations. As head of the student agency, Claudia Kühne takes a proactive approach, as alternatives are urgently needed. This is both for social interaction in times of physical distancing and to support the precarious situation of many students, which is constantly worsening.

Kühne's answer is to be creative. Are there ways of continuing to play a musical serenade in a nursing home without taking a risk or putting additional strain on the nursing staff? Yes, using the telephone, which is available practically everywhere. In this way, new offers are constantly being created that can also be guaranteed in times of acute crisis. And creativity could be rewarded by acquiring new customers in this way. In addition, musicians and performers are dealing with digitalization in a new context. They have recognized the potential of digital channels. Claudia Kühne and her colleague Nicolas Wolf support them in familiarizing themselves with the technologies, be it through technical tips or by setting up their own YouTube channel. The students are suddenly confronted with questions: about the target audience, about reaching an audience, but also about building and maintaining their personal network. These questions are directly related to the work of KULT, but they take on a new relevance during the crisis. According to Claudia Kühne, the resulting formats are currently being tested and will continue to supplement the offer after the crisis. She confirms that the students have reacted very positively to her initiative and also see the "corona period" as a creative driver. Bern University of the Arts and its students can thus play an active and positive role in an unsettled society, in the here and now.

> www.kult-agentur.ch

Claudia Kühne

... is head of the KULT student agency at BFH Bern University of the Arts.

Sibille Stocker - Numerous students from the FHNW Academy of Music/Basel Academy of Music used the days off during the Basel Carnival to visit and perform in their home countries. Some of them are still stuck there. Canceled concerts, currency devaluation in their home countries, unemployment of parents who finance their studies and/or the loss of any part-time jobs are existential for many. "I am financing my studies from my savings. The devaluation of the Brazilian currency is causing these to shrink rapidly. I am very grateful for the support from the Solidarity Fund." Jazz saxophonist F. M. is one of 141 students who have applied for an emergency scholarship. Immediately after the lockdown, the first calls for help came from students in need, a solidarity fund was immediately set up at the Foundation for the Promotion of the Basel Music Academy and an appeal for donations was launched. Within a few days, around 70 people from the music academy's environment and the ranks of lecturers at the Hochschule für Musik responded to the appeal and donated more than 190,000 francs. All applications were reviewed before Easter and 121 emergency scholarships were paid out. A great campaign!

"All my concerts and also my projects with Swiss and Mexican musicians have been canceled. The situation in my home country is catastrophic. I am very worried." The drummer E. S. also received a grant from the solidarity fund. However, what weighs far more heavily on him than the financial bottleneck is the uncertain (cultural) future. The Spanish quartet Kebyart, four young saxophonists who are currently having to hold out in the "confinamiento" in various Catalan cities, describe it as follows: "The shutdown of the music market is one thing, the other is the uncertainty about what will happen in the longer term to performances that have already been programmed. This paralysis, this being put on standby and not knowing for how much longer, it's grueling." For jazz and chamber musicians, practising together in times of lockdown is largely impossible, the online latencies are too great, even with the latest technical media. F. M. puts it in a nutshell: "We no longer have any togetherness, jazz is interaction between musicians and with the audience. In these times, we are all losing our unique moments."

The situation of these six musicians from the Hispano-Portuguese region is exemplary for many of their musician friends and fellow students. They are worried about their loved ones, the future of their studies and new professional uncertainties. But they are all working hard to deal creatively with the current situation. The "musicalthoughts4u" campaign organized by the FHNW Academy of Music/Basel Academy of Music provides an opportunity to do just that. The students were asked to use all their artistic and creative potential for innovative music videos and to produce them themselves while maintaining social/physical distancing - cash prizes await the winners so that these efforts can be meaningfully acknowledged in times of financial scarcity. In this way, the students at the Basel University of Music may be able to offer those suffering from the coronavirus crisis a virtual replacement for the sorely missed unique moments give.

> www.fhnw.ch/musicalthoughts4u

Sibille Stocker

... is head of the Institute for Communication at the FHNW School of Music/Music Academy Basel.

In the next issue, we will attempt to take a closer look at the new teaching methods that are being used at Swiss music academies due to the coronavirus crisis.

It is of great concern to him that as many of the projects planned so far can be realized, writes the Supervisory Board. For example, Beethoven's 250th baptismal anniversary, December 17, 2020, will not be the finale, but a highlight of the celebrations of the Bonn-born composer.

Beethoven Jubiläums GmbH is also sticking to the concert planned for this day with Daniel Barenboim and the West-Eastern Divan Orchestra in the presence of the Federal President as patron of the anniversary.

The BTHVN2020 program comprises 300 projects. Updates to the program planning are published in the central event calendar on www.BTHVN2020.de pictured.

Alfred Stocker was born in Savoy in 1928. He is the nephew of the legendary folk musician Stocker Sepp (1898-1949). According to the Haus für Volksmusik, Stocker worked as a teacher, choirmaster and organist in Lachen from 1963. For many years, he actively shaped and musically enriched village life. He was awarded the Canton of Schwyz Recognition Prize in 1989 and the Papal Benemerenti Medal in 2017 for his multifaceted work.

On the website of the House of Folk Music in Altdorf, you can now gain an insight into his oeuvre in the "Complete Works" section. A biography complements the 143 works of his that have already been digitally recorded and are currently available to the public in PDF format Adoro te about the Lachner song up to To God alone my soul is still. The collection is to be expanded further. Additional information on Fred Stocker or individual works is welcome. Anyone performing Fred Stocker's works in public must indicate this in the Suisa lists.
 

The 12th edition of the European Youth Choir Festival Basel (EJCF) should have taken place over the Ascension weekend this year. Covid-19 threw a spanner in the works and the EJCF board canceled the festival in mid-March. Initially, it was not expected that the 12th edition could be postponed. This was now possible after all because, as the festival writes, several festivals showed solidarity and rescheduled their events or entered into new collaborations. The Swiss Children's and Youth Choir Festival will be postponed from May 2021 to May 2022 and will take place at the same time as the Swiss Singing Festival (Festival of Choirs 20 to 28 May 2022 in Gossau). The meeting of Swiss choir conductors will take place in 2021 as part of the EJCF; it was planned to take place during the Cantars church music festival (March to June 2021). Some concert organizers had postponed dates, and collaborating organizations and volunteers had pledged their support for 2021. All but four of the choirs invited for 2020 could also take part next year.

In addition, the EJCF has not been completely canceled: Swiss radio will broadcast recordings of past festivals that Recycling campaign for unused advertising materials underway and from May 10, the Website of the festival activities, "which can now be seen as the amuse bouche of an EJCF 2021."

The measures imposed by the federal government and the extraordinary situation are having an impact on the construction process, writes the City of Zurich: the construction process and material deliveries are being affected. Sticking to the original opening date of March 2021 is too great a risk for the operators under the current circumstances.

The Tonhalle-Gesellschaft Zürich will perform the 2020/2021 season in the Tonhalle Maag instead of the Tonhalle am See and is planning accordingly.

It is currently difficult to estimate when the supply chains will stabilize and what long-term consequences the measures will have on the schedule. Not least because the federal government's easing of restrictions is being implemented gradually and with reservations. The client is still aiming for completion as quickly as possible.
 

When Ignaz Schuppanzigh returned to Vienna in April 1823, he remarked during his first visit to Beethoven: "I'm going to visit him in the country, where we want to compose a new quartet together." However, the decisive impetus for the composition of a whole series of string quartets may have been a letter from Prince Nikolai Galitzin, in which he immediately asked for "un, deux ou trois nouveaux Quatuors" asked. However, the premiere of the first of this series on March 6, 1825 (E flat major op. 127) was already disappointing - and made it clear that Beethoven was looking far into the future with his late string quartets. A comment on the demands of the work, which Schuppanzigh entered in a conversation notebook of the deaf composer in the course of a debate, is noteworthy in this regard: "There are no mechanical difficulties in it, only the originality makes it difficult, which one cannot grasp at first sight."

Beethoven himself was well aware of the interpretative and intellectual demands. The plan for the first movement of the String Quartet in B flat major op. 130 can be found in a sketchbook: "last quartet for Galitzin with a serious and sluggish introduction". In the end, the Adagio was not as weighty, but it appears to be interlocked with the following Allegro in a contrasting manner. The Andante in third place and the famous Cavatina (5th movement) are both preceded by a concise Scherzo. The "Grosse Fuge", which was later replaced by a rondo finale and printed separately, originally formed the conclusion. In his biography of Beethoven (3rd edition, 1860), Anton Schindler described the conceptually self-contained original version of the composition as "Monstrosity of all quartet music".

The fact that composers and audiences sometimes perceive new works differently is not just a phenomenon of the 20th century. Karl Holz, Secundarius in the Schuppanzigh Quartet, recalled the premiere of Opus 130 on March 21, 1826: "The production Performance was never in Beethoven's presence. The audience was enthusiastic, astonished or questioning, depending on the circumstances, but never denied it out of reverence. They understood - or did not understand. At the 1st production of the B Major In the second quartet, when the fugue still formed the finale, the small intermediate movements in B minor and G major had to be repeated at the stormy request of the audience .... The fugue passed without being understood. After the premiere Beethoven was waiting for me in the nearest inn. I told him that the two pieces would have to be repeated recte: had to. Yes! he said angrily, this Tidbits! Why not the Joint?" Emphasis in the original

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Link to the project homepage "52 x Beethoven"

Using infrared radiation, the thermal imaging camera recorded the surface temperature of instruments before, during and after a concert. The resulting thermograms show impressively and sometimes surprisingly which temperatures are generated at which points on the instruments. These are caused by touch, pressure or breathing air. For example, by placing a violin on the shoulder, playing a timpani or holding the baton.

The scientists at Fraunhofer IFAM Dresden discovered that the instruments heat up by up to 10 degrees when they are played. Of course, this also depends on the material. Brass instruments absorb heat faster, but also release it more quickly. Woodwind instruments, on the other hand, absorb heat more slowly, but retain it for longer. For example, the mouthpiece of a trumpet heats up to 30 °C, while the fingerboard of a violin only heats up to 25 °C in relation to the room temperature of 20 °C.

More info:

April 20 marked the start of the online survey for the international research project "Music Use in the Time of Corona". Melanie Wald-Fuhrmann, Lauren Fink (both Frankfurt a.M.), Niels Chr. Hansen (Aarhus), Lindsay Warrenburg (Boston), Claire Howlin (Dublin) and Will Randall (Jyväskylä) want to document and evaluate the global developments.

Inspired by videos with hashtags such as #coronasongs, #quarantunes or #covidance, which are currently going viral, the researchers designed an online study that asks about personal music-making and listening to music before and during the crisis. In detail, the study looks at the technical formats used to listen to music, forms of making music alone and with others, situations in which people listen to music, as well as the reasons and motivations for listening to and making music.

More info:
http://ww2.unipark.de/uc/musicandcorona

The Lucerne Festival Academy was founded in 2004 by Pierre Boulez and Festival Director Michael Haefliger. Every summer, young orchestral musicians, conductors and composers from all over the world work with renowned composers and conductors from the new music scene on contemporary scores and modern classics.

Composer Wolfgang Rihm has been Artistic Director of the Academy since 2016. The Lucerne Festival Alumni are a constantly growing network of over 1ʼ200 former Lucerne Festival Academy participants. They are not only present in Lucerne during the summer, but also act as international ambassadors for the Lucerne Festival and perform in various countries.

Felix Heri was born in Deitingen/Solothurn in 1986 and initially studied clarinet at the Lucerne University of Applied Sciences and Arts, before completing a degree in cultural management at the University of Basel.

The Covid-19 pandemic is an extraordinary and existential situation for many people and calls for new, creative solutions, writes Pro Helvetia. Artists and cultural practitioners should be able to continue working together despite mobility restrictions and find an audience willing to pay for their work despite assembly bans. "Cultural distancing" is not an option and culture is therefore called upon to deal with distance in an innovative way.

With the "Close Distance" call, Pro Helvetia wants to "encourage artists and cultural institutions to initiate forms of collaboration that are independent of mobility as well as new forms of publicity or to intensify existing formats - both within Switzerland and together with international partners. Of particular interest are experimental artistic collaborations, new formats for reflection, international networks and partnerships as well as platforms." We are looking for new formats "that will endure beyond the coronavirus crisis and no longer make physical mobility a mandatory prerequisite for cultural production and reception," says Seraina Rohrer, Head of Innovation & Society at Pro Helvetia. Both digital and analog projects are supported in all artistic fields/disciplines supported by Pro Helvetia.
 

The project must have a connection to Switzerland, be of interest to the whole of Switzerland and pursue and implement a clear impact. It must convince through high cultural and technical originality and quality, be implemented according to professional standards and have the capacity to transcend artistic and social distances.

A maximum of CHF 50,000 can be allocated to a project. Applications are reviewed on an ongoing basis and a decision is made within three weeks. Further details on how to apply can be found at:

The Solothurn cantonal government has decided on the concrete implementation of the measures and approved support aid with a maximum cost ceiling of CHF 3.48 million. Specifically, non-profit cultural enterprises based in the canton of Solothurn can apply to the canton for repayable interest-free loans to secure their liquidity. Self-employed cultural professionals resident in the canton of Solothurn and cultural enterprises based in the canton of Solothurn can apply for loss compensation.

The support measures are subsidiary to all other state benefits in connection with cushioning the economic consequences of the coronavirus (short-time work compensation; unemployment compensation; compensation for loss of earnings; emergency aid to cultural workers, bridging fund canton of Solothurn). They cover the damage for which no other state compensation is paid and which is not covered by private insurance. At present, it is therefore difficult to predict the extent to which this form of support and the corresponding financial resources will be used in the canton of Solothurn.

Applications for additional support contributions can now be submitted, if possible, by Thursday, April 30, 2020, but no later than Wednesday, May 20, 2020. The corresponding application forms and information sheets are available at https://corona.so.ch/bildung-kultur/kultur-und-sport is now available.
 

This sonata is still a challenge for every horn player today, regardless of which instrument is used. For example, the French horn's range of notes is limited to the natural harmonic series in terms of construction, which musically did not allow for a continuous diatonic or chromatic line. Before the later introduction of mechanical valves (of which Johannes Brahms was not a great friend, by the way), this limitation could only be largely overcome by the so-called plugging technique - a technique in which the hand in the funnel influences the pitch depending on its position and shape. Only a few outstanding musicians were able to adequately compensate for the characteristic change in sound (namely from radiantly open to tightly stopped). One of these was the Bohemian-born Wenzel Stich (1746-1803), who also called himself Giovanni Punto, italianizing his name. He had managed to persuade Beethoven to take part in an academy at the Hofburgtheater on April 18, 1800, but the agreed composition was only completed at the very last moment. In his probably anecdotally heightened recollection, Ferdinand Ries put it like this: "Beethoven almost always postponed the composition of most of the works he was supposed to have finished by a certain time until the last moment. ... Beethoven began the work the day before the performance and it was finished at the concert."

Whether for this reason the middle slow movement (Poco adagio, quasi andante) has only a comparatively small range and functions more as an introduction to the concluding rondo? The very beginning of the first movement shows that Beethoven deliberately played with the tonal possibilities of the horn and probably wrote the composition Stich/Punto to suit it. Here the horn opens with a signal from the natural tone row. However, it is inconceivable to take over the narrow-step vocal main theme on a valveless instrument without using a sophisticated stopping technique. For today's musicians, who usually play on the technically sophisticated and tonally balanced valve horn, this poses the challenge of keeping some of this expressive, differentiated tonality alive.

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Link to the project homepage "52 x Beethoven"

The Federal Council is providing funding of CHF 280 million for measures in the cultural sector. According to the federal distribution formula, the canton of Basel-Landschaft will be allocated CHF 4.051 million. This is on condition that the canton provides the same amount of funding. A total of CHF 8.102 million is therefore available in the Basel region.

Non-profit cultural enterprises and profit-oriented cultural enterprises without a business identification number (UID) as well as cultural professionals can apply for compensation for loss of up to 80% of the financial loss associated with the cancellation or postponement of events and projects or with the closure of businesses caused by government measures to combat the coronavirus. The measures are implemented and applications processed in close coordination with the Canton of Basel-Stadt. This applies in particular to applications that are related to the BS/BL bicantonal expert committees.

For non-profit cultural enterprises, the Federal Council also provides for repayable interest-free loans to ensure liquidity if this is at risk as a result of government measures to combat the coronavirus. The loans amount to a maximum of 30% of the cultural enterprise's income, less subsidies from the public sector. They can be applied for by submitting an application to kulturelles.bl after a prior consultation.

Due to the coronavirus pandemic, the 2020 Canton of Basel-Landschaft Cultural Awards ceremony has been postponed. The cultural award ceremony will be held in a different form at a later date. Kulturelles.bl will provide information in due course. The 2021 cultural awards ceremony will take place in Oltingen, as planned for this year.

More info: www.kulturelles.bl.ch/corona
 

It is well known that the coronavirus has brought public cultural life in Switzerland to a virtual standstill. The Migros Culture Percentage music festival m4music has even been thwarted twice by the pandemic. Two weeks before the start, it was announced that the 23rd edition, originally planned for March 19 to 21, would have to be canceled due to official requirements. "It is not justifiable to hold the event," the media release stated.

However, the makers did not want to admit complete defeat at this point. Consequently, they announced: "m4music 2020 will become m4music 2.0." Instead of a three-day festival for 6,000 visitors, a livestream was now planned for those at home. A mix of music, panel discussions and the so-called Demotape Clinic - the competition for up-and-coming Swiss pop music talent - was planned. Just eleven days later, this plan was already history. "In view of the current situation and the latest guidelines from the Federal Council, holding an event like the m4music 2.0 streaming festival, for which over 50 employees and guests from various parts of Switzerland would be traveling, is not justifiable," the festival management announced.

For m4music, however, there was no question of backing down. Festival director Philipp Schnyder von Wartensee promised: "Despite all the circumstances, we want to offer Swiss pop music a platform and provide specially produced content for music fans and professionals on our digital channels in the coming weeks." In fact, on March 21 - the original Saturday of the festival - the first online panel was held under the title Total breakdown - The music scene in times of the coronavirus. Around 350 participants followed the discussion live on Facebook or Zoom and the number of clicks on the recording on YouTube is constantly increasing, explained Philipp Schnyder on request. "We can be satisfied with that."

When asked about the impact of the festival's cancellation, he explains: "m4music is the most important meeting place for the Swiss indie music scene. So the move was correspondingly painful." At the same time, however, it is important to be aware that the representatives of the local music scene are currently focusing on other issues. Consequently, the above-mentioned online panel, which is still available on YouTube, was deliberately dedicated to these problems. For example, the existential hardship faced by musicians in the absence of payment and the increasing number of clubs and festivals in the face of the ban on events were discussed.

But back to m4music: according to Schnyder, they are currently still analyzing the financial impact of the festival cancellation. It is a complex process that also requires legal clarifications. "It is not the intention of m4music and the Migros Culture Percentage to get off as lightly as possible financially." This is an attitude that the festival can adopt because it is not being called into question despite the cancellation. "We are very well positioned and assume that m4music will take place again next year," explains Schnyder. Postponing this year's festival - to the fall, for example - was not considered. "That would have been too costly," says the festival director.

It is clear that they want to help the Swiss music scene even without m4music 2020. "We are currently still thinking about how we want to position ourselves in order to support the local scene in the best possible way," reports Schnyder. Because Swiss radio and television are already active with all kinds of streams, m4music is planning to get involved in other ways. For example, the next online panel on April 16, 2020 will focus on the topic of Multiculturalism true(ly)? - About migration, culture and diversity accept. The focus of the discussion is the realization that our society is shaped by migration. But although more than 50 per cent of 15 to 35-year-olds in Switzerland have a migration background, this is hardly reflected in the arts pages, for example. Which leads to the question of why the multicultural music scene in this country is not more in the spotlight.

The Demotape Clinic will also be held digitally for the first time in April. The four category winners and the winner of the Demo of the Year will be announced online on April 28. And in the background, preparations for m4music 2021 will soon begin again, as Philipp Schnyder knows: "We're already starting the booking process again!"