The waltzes by Ėmile Waldteufel (1837-1915) are among the most beautiful dance music repertoire and are in no way inferior to those of the Viennese Strauss dynasty. On the contrary: it is fascinating to trace the difference between the two styles. This is not easy to define, because the clichés, such as Parisian here and Viennese there, do not apply at all.

Ėmile Waldteufel-Lévy came from a Jewish family of musicians from Strasbourg, who moved to Paris after his birth, where Ėmile studied music and soon became a successful ball orchestra conductor and composer. His waltz Manolo inspired the then Prince of Wales and later King Edward VII so much that he became his patron and helped the composer to great fame in Great Britain.

Several waltz cycles by Ėmile Waldteufel can be found in the Zentralbibliothek Zürich as sheet music (now out of print), mostly in the form of arrangements for salon orchestra by Henry-Litollf's-Verlag in Braunschweig. This arrangement of the famous Patineurs for violin, violoncello and piano by horn player, conductor and arranger Simon Scheiwiller from Siebnen SZ is slimmer in comparison: the piano part is less full-bodied, the three instruments alternate in the main part and emphasize the musical elementary forms in attractive sound mixtures. Scheiwiller's trio movement is easy to play for all three instruments from upper intermediate level upwards, but be careful: Waltzes are never easy to play! The devil is in the detail when it comes to getting the Viennese-Parisian noblesse and elegance across the ramp.

Ėmile Waldteufel: Les Patineurs (The Skaters), arrangement for piano trio by Simon Scheiwiller, GM-1926c, Fr. 21.50, Edition Kunzelmann, Adliswil

Also available for other instrumentations

The name Franz Schubert usually conjures up associations: Lied, piano, string quartet. Schubert's masses, symphonies and numerous stage works only attracted attention, if at all, after his death. In terms of music history, however, his lieder had an enormous influence on the development of the genre of the art song as we know it today and was already present in the public eye during his lifetime.

Although not a single one of his songs with authentic guitar accompaniment has survived, there are enough sources to prove Schubert's affinity for the guitar and to justify guitar arrangements of his piano songs. In the Biedermeier period, musical life did not flourish on large stages, but on a small and private scale, and the tradition of the so-called Schubertiades has been handed down to us since 1821. The Biedermeier's favorite instrument was omnipresent in Schubert's circle of friends and family, and Schubert himself owned a guitar from Staufer's workshop.

Even during his lifetime, there were corresponding versions of the Erlkönig or the Young nun for example (although not by him), and there are even some songs that seek to imitate the guitaristic (or harpistic) gesture and are ideally suited for guitar arrangements. One thinks of The night D534 or Night piece D672.

There is now a wealth of transcribed songs. The present version of the Winter journey is even set for guitar duo by Christian Fergo and Raoul Morat, which certainly comes closer to the richness of sound of a piano accompaniment and yet fully exploits the delicacy and richness of color of the guitar. In my opinion, this is a remarkable edition that enriches and expands the existing guitar repertoire.

One takes the view that an arrangement is always an interpretation at the same time, and so, although fingerings are always an individual decision of the respective guitarist, it was decided to notate some in order to retain the original character of the musical structure and expression of the piano part. The pianos of Schubert's time were much more delicate in their timbre, and we know that Schubert himself strove for an elegant, light touch and little use of pedal. This makes it all the more obvious to use the colorful possibilities of a guitar arrangement to emphasize precisely that intimate side of the piano accompaniment that Schubert may have had in mind.

Franz Schubert: Winterreise, for tenor and two guitars arranged by Christian Fergo and Raoul Morat, D 08955, € 34.95, Doblinger, Vienna

Born in 1985, Fabian Chiquet is a multi-talented artist. The Basel native makes films, music, theater and art installations. He graduated with a master's degree in transdisciplinarity from the ZHdK in 2010. Chiquet is co-founder of the pop band "The bianca Story", in which he is songwriter and keyboardist and with which he has toured throughout Europe.

He staged his own plays, which were shown throughout Switzerland, and wrote collaborative music for theater and film with the "Club Für Melodien". With "The Pacifist", he brought his first documentary film to the cinema in 2021. In collaboration with Swiss Radio and Television, he is currently working on the project "I'll Remember You", a documentary film with a web series and podcast about the beginnings of Swiss pop culture.

The ZHdK honorary degrees are awarded once a year and do not involve any financial contribution. Members of the ZHdK can nominate recipients. The Executive Board of the University, advised by a committee, decides on the award. The honorary degrees are awarded at the ZHdK's University Day. The event is not open to the public.

Antoine Gilliéron - in conversation with Xavier Bouvier, specialist in interculturality and diplomacy and coordinator of the ethnomusicology course at the Haute École de Musique de Genève.

Xavier Bouvier, how do you view the international aid that the HEMs of our country have been able to provide in the past, provide today and could provide in the future?

The internationalization of higher music education in Switzerland is the culmination of a long evolution, which began in the first decades of the 20th century - one thinks of the reception, in our Conservatories, of refugees from the Russian revolution. After the 1970s, the reception of students from other continents - East Asia, but also South America - developed considerably.

The integration of HEM into the European Higher Education Area has marked a significant step. Initiated since the Bologna Declaration, this area, inaugurated in 2010, extends far beyond the frontiers of Europe as a whole, as it includes countries such as Russia, Armenia and Kazakhstan. The HEM have greatly benefited from the academic exchanges within this area - even if the fact that Switzerland has left full participation in the ERASMUS+ programs has freed up our inclusion in certain programs: one thinks of the thematic networks initiated by our colleagues from major European musical institutions.

In the field of assistance, the Association Européenne des Conservatoires (AEC) has supported the integration of the institutions of Eastern Europe throughout this construction period. These efforts have been remarkably fruitful, and the exchanges have multiplied. But one can consider, rétrospectively, that the enlarging and consolidation of Europe has coincided with a relative fencing-off with the rest of the world: a frontier has been created, politically, but also culturally.

In fact, the countries of Eastern Europe, including Russia, are far from being périphériques in the great European classical tradition. They were, and still are, centers of vitality. A few years ago, I had the opportunity to visit the city of Kharkiv, dramatically affected by the current war: its monuments of eclectic architecture remain very European-centric.

All the others are the cultural situations of the Middle East, of India, or of Eastern and South-Eastern Asia. We are faced with other musical traditions, millennial ones, which could well have something to teach us. Unless we remain on a Eurocentric position, the notion of help loses its meaning: it is a dialogue that must take place. Rare have been the initiatives taken by European conservatoires in this dialogue, even though we have seen some remarkable achievements, especially from our colleagues in the Nordic countries, such as the Norwegian Academy of Music in Oslo and the Royal Danish Academy in Copenhagen.

Is it true that the solidarity expressed in the context of the war in Ukraine (for example, welcoming Ukrainian students and professors, concerts of support, position-taking and the provision of instruments) seems to you to be emblematic of what they are capable of doing, or could they possibly be more proactive in their actions?

Of course, it would be unwise not to engage in solidarity with those who are suffering from the conflict, and it would be logical to direct this solidarity towards music schools, musicians and music students. But what seems most striking to me is that the Swiss music schools wanted to and have created a sanctuary for their students, regardless of their origin - Russian or Ukrainian. The messages of solidarity between students have been many - for example, one of our Russian students volunteered to give language lessons to Ukrainian refugees right from the start of the conflict. We have also been able to sanctuarize the repertoire - resistant to very specific pressures to deprogram pieces of the Russian grand repertoire. The big debate is about whether music, or art in general, is in line with politics. Opinions diverge, but my experience is that our musical institutions must remain spaces for exchange and dialogue, places where relationships are created.

More broadly, what can you tell us about diplomacy through music and its realization in the HEMs of Switzerland?

Switzerland enjoys a very special position thanks to its neutrality and its tradition of good offices. The city of Geneva is the symbolic center, the venue for major meetings on international issues. As early as 1920, an extraordinary dialogue between cultures was established within the International Commission for Intellectual Cooperation of the Society of Nations. As the researcher Christiane Sibille has pointed out, music did not take part in this movement: Belà Bartók took part in the work, and many international musical institutions saw the light of day.

According to you, what good practices beyond our borders in this regard could be successful in our institutions?

With regard to the diplomacy of music, initiatives are being taken by Swiss music schools, and we are on the verge of becoming aware of the richness that exchanges with other music schools can bring to us. More fundamentally, it is perhaps simply a realization that our repertoire is already the fruit of these exchanges: the last century has never ceased to be the moment of such encounters, from the gamelans for Debussy to the polyphonies and polyrythmies pygmées for Ligeti.

For our institutions, a 2006 UNESCO text, Guidelines on intercultural education, provides an excellent reference of good practices. The basic idea is very simple: our schools and our students can benefit from the knowledge of other musical cultures, ancient, complex, refined, expressive and expressive. D'autres conceptions musicales y sont à l'œuvre, et permettent de décentrer notre point de vue. But the realization of such a programme is difficult: the institutions and the performers are not easily malléables. Among the hundreds of millions of Syrian refugees in Europe were the masters of the great Arab classical tradition: have we created a space to fully benefit from their cultural capital? The signs of an evolution are there, however, and major conservatories around the world are taking the lead on these issues. The Swiss music schools have a role to play in this field; an opportunity is waiting to be seized.

Martha von Castelberg-von Orelli (1892-1971) must be described as a hitherto unknown Zurich composer who has only recently been rediscovered. The foundation named after her, established in 2004 and dedicated to publicizing her music, is making its first public appearance with this publication. It also holds out the prospect of a new edition of all her compositions.

Verena Naegele and Sibylle Ehrismann follow the "few traces" left behind by the artist, attempting on the one hand to trace her life and on the other to chronologically organize and appreciate her work.

Martha von Castelberg came from a branch of the von Orelli family that had turned to Catholicism and lived according to particularly strict religious principles. She grew up well protected in the Zurich diaspora in a wealthy banking family. She turned to music at an early age, played the violin and viola, taught herself to play the piano and studied harmony intensively, but did not go on to study music professionally. In 1920, she married the lawyer Victor von Castelberg and became the mother of two sons. She had been a self-taught composer since 1912. From 1939, she found her religious and musical home in the church of St. Martin in Fluntern, in the immediate vicinity of her home.

Martha von Castelberg composed sacred songs (mainly with organ accompaniment), four-part motets, some secular songs, a mass and a piano sonata, mostly for specific occasions or named performers in her circle of acquaintances, such as the tenor Peter Willi. Only a few songs and motets were printed or recordings of her compositions were released during her lifetime. After the death of her husband (1957) she became even quieter and after her death (1971) she was gradually forgotten.

The in-depth appreciation of her life and work in book form reveals much about the environment in which a woman in Switzerland at the time focused on composing mainly sacred music, but also includes the personal perspectives of the two authors in a noticeably undisguised way. At the same time, Sibylle Ehrismann's musical descriptions of the works lack additional musical examples that would have made it possible to penetrate beneath the analytical surface. Thus one eagerly awaits the (first) editions of (most of) the works in order to get to know the œuvre of an unusual composer in its entirety, which is now awakening to new life.

Verena Naegele and Sibylle Ehrismann: Martha von Castelberg-von Orelli 1892-1971: Composing, despite everything, 168 p., Fr. 34.00, Hier und Jetzt, Zurich 2021, ISBN 978-3-03919-539-8

Women have always composed, they just weren't usually able to present their music in public. And if they did, such as in the Baroque era, they were immediately forgotten after their death. However, their sheet music still exists, provided it has been handed over to music archives, where it lies dormant. Anyone who searches for them will find them. And music publishers such as Furore-Verlag are systematically editing these scores.

Trouvez les femmes! is also the title of a larger-scale CD project by flutist Miriam Terragni and pianist Catherine Sarasin. Their aim is to expand the flute music repertoire with unknown pieces by female composers. The first CD is dedicated to the Romantic period, featuring Emilie Mayer (1812-1883) and Laura Netzel (1839-1927). Emilie Mayer was a highly acclaimed artist in Berlin and her works, including symphonies and concert overtures, were performed throughout Europe. Barbara Beuys recently published an illuminating book on this interesting composer.

Now Terragni and Sarasin present Mayer's Violin Sonata in D major, which they have subtly arranged for flute. This sonata is a jewel and also sounds good with flute. Terragni masters the most virtuoso passages in the passionate Agitato con passione and in the witty Scherzo with technical bravura and a soft tone. The imaginative three-movement Suite for flute and piano op. 33 by Laura Netzel also makes you prick up your ears; the whirling Allegretto non troppo vivo is played with ease and precision by the long-standing Terragni-Sarasin duo.

The young pianist Kathrin Schmidlin is also on the lookout for clues, having already made a name for herself with her debut CD Women's voices attracts attention (SMZ 4/2021). In collaboration with the music researcher Walter Labhart, she has now released a CD with piano pieces by eight female composers who are largely unknown even to connoisseurs of the scene. And she concentrates on their Opus 1, i.e. the first works of these highly talented musicians.

With her subtle touch and alert mind, Schmidlin knows how to play out the many short pieces vividly. Under her fingers, the Goblins in the fabulous Nine small pieces by Hilda Kocher-Klein (1894-1975). She brilliantly brings out the impressionistic colors in Cécile Chaminade's (1857-1944) famous Étude printanière to shine, only to then show off mightily in the weighty five-part Opus 1 by Vítězslava Kaprálová (1915-1940). You can hear Schmidlin's delight in these pianistic discoveries.

Opus 1 feminine. Works by Alicia Terzian, Hilda Kocher-Klein, Cécile Chaminade, Mathilde Berendsen-Nathan, Luise Adolpha Le Beau, Clara Schumann-Wieck, Maria Parczewska-Mackiewicz, Vítězslava Kaprálová. Kathrin Schmidlin, piano. Claves CD 3051

Trouvez les femmes! Vol 1. female composers of the romantic era. Miriam Terragni, flute, Catherine Sarasin, piano. Coviello Classics COV 92208

As the first ensemble of its kind in Switzerland, the Zurich Chamber Orchestra was founded in 1920 by Alexander Schaichet (1887-1964) with the intention of performing "works that were rarely heard, never performed or particularly valuable". The violinist, violist, conductor and music teacher, who was born in Nikolayev (Ukraine) and trained in Odessa and at the Leipzig Conservatory, was a member of the Jena String Quartet, lived in Switzerland from 1914, married the Hungarian pianist Irma Löwinger in 1919 and conducted the Zurich Chamber Orchestra until 1943. From 1940 until his death, he taught violin at the Zurich Music Academy.

In less than two and a half decades, he and his orchestra gave around 50 world premieres and well over 200 first performances, mainly of contemporary composers. New works by Swiss composers such as Robert Blum, Emil Frey, Paul Juon, Walter Lang and Werner Wehrli could already be heard during the first decade, followed shortly afterwards by works by Conrad Beck, Ernest Bloch, Willy Burkhard and Arthur Honegger. With international music by Béla Bartók, Alfredo Casella, Heinrich Kaminski, Ernst Křenek, Bohuslav Martinů, Darius Milhaud, Alexander Mossolow, Bernhard Sekles, Rudi Stephan, Ernst Toch and Leó Weiner, the "Golden Age of New Music" dawned for Zurich in the 1930s thanks to Schaichet's passionate commitment.

Published as a New Year's edition by the Zentralbibliothek Zürich, two very different CDs and a richly illustrated booklet remind us of Shaykhet's pioneering work, but also of his systematic marginalization and discrimination as a Jew. The texts on CD 1 are enriched with many quotes from letters and sound samples, A musical biographyare narrated by Laura Lienhard, Graziella Rossi, Peter Hottinger and Helmut Vogel. On CD 2, the pianist and musicologist Andrea Wiesli, who is responsible for the musical concept, Mirjam Tschopp (violin, viola) and Jonas Kreienbühl (violoncello) interpret the Musical works by Alexander Schaichet's companions.

Of the rarities, all of which are expressively arranged in first recordings, the following are worthy of special mention alongside the particularly imaginative Small variations in etude form for piano by Lily Reiff-Sertorius the Six Israeli Melodies for violoncello and piano and Soliloquy "In Memoriam Alexander Schaichet" for viola solo by his closest friend Joachim Stutschewsky.

The first chamber orchestra in Switzerland. Alexander Schaichet 1887-1964.Solo Musica SM 368 (2 CDs)

Can pop and rock be played on the classical guitar? Yes and no. The 9 Rock-Pop Studies by Swiss guitarist, composer and music teacher Michael Erni make use of stylistic elements from so-called popular music, but their style remains firmly in the tradition of the classical-romantic guitar sound. Pentatonic passages are reminiscent of rock and blues, chords with seconds and major sevenths are reminiscent of the musical harmonies of Andrew Lloyd Webber, for example. Together, this results in a collection of attractive, colorful pieces of varying degrees of difficulty for more advanced teenagers and adults.

The nine pieces are grouped into the essential areas of legato, barré and changes of position for the left hand, with corresponding preparatory exercises in each case. However, the preparatory exercises do not reflect the actual requirements of the individual pieces. The simple legato exercises, for example, do not take into account the numerous ties that occur later. The various arpeggio patterns of the right hand are not addressed at all.

Some numbers have a clear and transparent form, while in others almost too many good ideas come together in a small space. Sounds very nice Deep River, with a simple melody over compact romantic barré chords. The concluding Grand Final in which rasgueados and thirty-second arpeggios are also required. It's hard to imagine pupils playing the work at the same tempo as the composer and maestro on the corresponding YouTube recording ...

Michael Erni: 9 Rock-Pop Studies with preparation exercises, for classical guitar solo, DZ 3703, € 13.72, Les Productions d'Oz, Lévis (Québec)

The Joachim Raff Society, founded 50 years ago in Lachen SZ, the composer, arranger, conductor, music teacher and writer Joseph Joachim Raff's birthplace, celebrated his 200th birthday (27 May) not only with concerts, lectures and exhibitions, but also with various publications. Even before the society's commemorative publication, written by its president Res Marty, was available, it made it possible to publish the first complete recording of Raff's works for cello and piano. This demonstrates once again that the composer, who was once an internationally successful symphonist, was on the one hand an eclectic composer inspired by Mendelssohn Bartholdy, Schumann and Liszt, and on the other a visionary who looked ahead to Brahms.

Although the rapturous Duo op. 59, the Two fantasy pieces op. 86, which contain an original dialog of staccati and pizzicati, and which are also available in a version with horn that is enchantingly simple. Two romances op. 182 are still influenced by the New German School, they contain anticipations of the musical language of Brahms and younger composers. In the Sonata in D major op. 183, which is more classical than romantic, in the opening movement of which the string instrument is surrounded by stormy piano runs, the lively scherzo - an encore piece par excellence - is strongly reminiscent of Mendelssohn.

The Swiss cellist Christoph Croisé, who had already performed Raff's 1st Concerto in D minor op. 193 in Lachen at the age of eighteen, interprets these rarities in finely balanced interplay with the pianist Oxana Shevchenko, expressively and with captivating brilliance.

"Music education" is in vogue, but it's in quotation marks. Even at school, some children are introduced to classical music, hopefully even listen to Beatles, playfully rap or sing rhythmically. At classical concerts, there is an introductory lecture for adults, a program booklet and, in some cases, short presentations by the performers. In addition to music journalists, curators also act as "music mediators". The latter put together programs as sensibly as possible, perhaps looking for unusual concert formats, new venues, new forms of reception.

The concert audience of the future is the title of an anthology published by Bielefeld-based publisher Transcript, which mainly contains texts from a conference held at Bern University of the Arts in 2019. Essentially, the content revolves around the latter point: what can "exciting", new formats look like that do not follow the mainstream of traditional concert institutions? The starting point is clear for most of the authors. The "classical concert" already had "artificial hip joints" before corona, concedes co-editor Barbara Balba Weber, "Corona has given it the death blow" (p. 219).

Well, that's nothing more than a steep thesis, which sounds strange when thousands and thousands of musicians leave universities and academies every year. What's more, many people long for live performances, encounters and a sound quality that is nowhere near reproducible with headphones or even the most expensive surround home systems in the face of predominantly sad live streams. There are also places where concerts continue to work well, where halls are not only filled with people over the age of seventy. In short, the brash, broadcast-conscious tone of Weber and many other authors is unsettling.

Nevertheless, this anthology of twelve essays offers illuminating insights. Often inspired by new music, the 229 pages focus on participatory concerts, improvisation and, above all, new venues. Anja Wernicke reports on the Zeiträume festival in Basel, where outdoor concerts - in the tradition of rural concerts at the Rümlingen festival - have been relocated to urban spaces since 2015, creating links to architecture and certain social milieus. Catriona Fadke, Hannah Schmidt, Juri de Marco and Viola Schmitzer present their impromptu orchestra. In Berlin's sold-out Radialsystem, they played and improvised with elements from Beethoven's Fourth Symphony - obviously to the delight of the audience, who were able to move freely around the concert space.

Of course, buzzwords of current cultural policy should not be missing: Terms such as "digitality, sustainability, diversity, openness to process, participation" play their roles again and again in different colors. The sociologist and musicologist Susanne Keuchel writes of "many exciting didactic music concepts" that could be achieved if "apps are used to create participatory digital co-playing activities in addition to the sound of the orchestra" (p. 36). All of this may be well-intentioned, but it seems to be moving away from those (not just older!) people who simply want and are allowed to do one thing: To experience art in a concentrated way with other people. Without a lot of words, without questions about meaning and purpose, and ultimately without questions about a future that is difficult to assess per se.

Irene Müller-Brozovic, Barbara Balba Weber (eds.): Das Konzertpublikum der Zukunft - Forschungsperspektiven, Praxisreflexionen und Verortungen im Spannungsfeld einer sich verändernden Gesellschaft, 229 p., € 33.00, Transcript, Bielefeld 2022, ISBN 978-3-8376-5276-5
Open Access

According to a press release from Stretta Concerts at the start of the 22/23 season on September 17, the concert series is firmly anchored in the cultural life of the canton of Aargau and aims to establish itself as a Swiss-wide platform for classical music. The program for the new season includes the Zurich Chamber Orchestra with Daniel Hope and the Orchestra della Svizzera italiana under the direction of Heinz Holliger with Sebastian Bohren as the soloist in Béla Bartók's first violin concerto.

Instead of an entrance fee, a collection will be taken to welcome every audience and all classical music fans. Sebastian Bohren, was awarded the "Golden Bow" by the Swiss Violin Making School Foundation this summersays: "Even without admission prices and subscriptions, we have a loyal regular audience that has almost subscribed to us. The Stretta Concerts have become an integral part of concert life in Central Switzerland and are firmly anchored in our audience's agenda".

The funding vehicle was triggered by the public discussion of the city's "cultural spaces" target. As part of this, it was pointed out several times that there was a major lack of performance opportunities, particularly for young bands. For this reason, the City Council set up the pilot project "Newcomer Stages & Live Support" as a new funding vehicle for these young cultural professionals.

The grunge-pop band "Nesta and the Blondes" will kick things off. Andrea Corona, Michelle Früh, Benjamin Richner and Lorenzo Corona share a passion for snowboarding and music. They will be playing at Cuadro22 on September 23rd. The young artist Lenny Ammann is known on stage as "AM$". He raps in English, French and dialect and impresses with his melodious hooks. He will be presenting his music at the Loucy Bar & Eventhall on September 24.

The band "The Exploding Trees" was founded a year ago and consists of musicians from Switzerland, Austria and Germany, held together by Chur-based artist Arnaud Pas. After countless street concerts in Chur, their mixture of rock and reggae can now be experienced live on the Palazzo Chur stage on October 15.

Nesta and the Blondes, AM$ and The Exploding Trees now have the opportunity to increase their stage presence and gain visibility. In addition to the opportunity to perform on a concert stage in Chur with professional infrastructure, they will receive advice and expert feedback from a specialist in the music industry.
 

The sails have been set for the new season: "... the Jedi will return" - not to the end of the world, however, but to the KKL Luzern, together with a pack of prominent pirates, talented magicians, the graceful Cinderella, the completely unapologetic Ice Queen and Luke, Leia and Darth Vader on the big screen. And the wildly diverse troupe has a colorful program of the most beautiful film music for the 2022/23 season.
The 21st Century Orchestra, under the musical direction of Ludwig Wicki, is delighted to accompany the spectacular sequels to the science fiction classic Star Warsthe fantasy saga Harry Potter and Pirates of the Caribbean - At World's End and especially the KKL premiere of Disney's The Ice Queento be able to play live.
A reunion with the fairytale classic at Christmas time Three hazelnuts for Cinderellabefore The Sound of Quentin Tarantino will bring the year to a close with a musical best-of by the cult director.

Overwhelming emotions arise in the concert hall when the film music is played live, as at the new gala film concert at the beginning of the season Epic - Legendary soundtracks: On November 5 and 6, 2022, the 21st Century Orchestra and the 21st Century Chorus under the direction of Ludwig Wicki will perform music from The Lord of the Rings, The Hobbit, Gladiator, Game Of Thrones, The Hunger Games, Braveheart, Ben Hur, Thor: Dark World, King Arthur The audience embarks on an epic sound journey to the Scottish Highlands, to Middle-earth and outer space, to ancient Rome, the Middle Ages and the future.

Join the movie heroes on their journey through the unforgettable soundtracks to the biggest blockbusters of all time!
With a bit of luck, you could win 2×2 tickets for the concert:

Epic - Legendary soundtracks
November 6, 7:30 p.m. at the KKL Lucerne.
Concert performance without film clips.

Please send an e-mail with your exact address to by October 10:
contact@musikzeitung.ch

The winners will be informed accordingly in week 42 at the latest.