Fredy Studer

What did it take in your case for you to develop so beautifully as a musician?

I was extremely lucky: I grew into music at a time when it was all about content. For us back then, it was a rebellion - the motivation was a mixture of desire and resistance (a state that still persists today, by the way). At that time - without being nostalgic - there was an "atmospheric climate" in which economization, the pressure to conform and audience ratings did not yet play such a central role, but where the ideal could take centre stage. Then in 1972 we founded the band OM, a close-knit community where we were able to develop our music for ten years. For me and the other three, this situation laid the foundations for our musical existence, which continues to this day.

Are the conditions in Switzerland conducive or detrimental to musical development?

Both back then. Obstructive in the sense that nothing was given to us and served to us on a platter. Obstacles were also put in my way from the start. We had to fight - and we knew what for. It helped that there was always a job available when you needed money.

Today, the opportunities for musical training are also at a high level in Switzerland. One of the results of this is the high technical level of instrumentalists. On the other hand, a lot of things only happen on the surface and under very comfortable conditions. This is probably why relatively few fantastic musicians stand out among the many very good instrumentalists today.

Is it essential for musical self-realization to go abroad?

In my case, this wasn't necessary, as I had attracted attention with OM different international musicians and was therefore able to participate in many foreign bands and projects without having to move to London, New York or Berlin, for example. In this respect, I was networked accordingly even without the Internet. But if this hadn't developed in this direction, then I would probably have gone abroad too.