Laura Müller, born in Zug, discovered the clarinet at the age of five and has been playing it ever since, according to a statement from the HKB. After completing a Bachelor's degree in classical clarinet with Fabio di Càsola (E-flat clarinet with Heinrich Mätzener) at Zurich University of the Arts, she completed a Master's degree in Music Performance with Ernesto Molinari (bass clarinet with Bernhard Röthlisberger) and a Master's degree in Specialized Performance with a specialization in Music in Context with Barbara Balba Weber at the HKB with distinction.

In her own projects, Laura Müller searches for new concert formats for the 21st century audience. In addition to her musical activities, she studies German linguistics and literature, art history and psychology at the University of Bern and has been dancing ballet for over 20 years. Her ambition to unite different disciplines into a greater whole is rooted in these diverse interests.

Cultural, sports and leisure facilities remain closed. Stores and markets will be closed. Stores and markets selling everyday goods are excluded. It is still possible to collect ordered goods on site. However, the regulation that stores, petrol station stores and kiosks must remain closed after 7 p.m. and on Sundays can be lifted again.

Employers are obliged to arrange home office wherever this is possible due to the nature of the activity and can be implemented with reasonable effort. The employer does not owe the employee any compensation for expenses such as electricity or rental costs, as the arrangement is only temporary

All measures in the Federal Council's media release:
https://www.admin.ch/gov/de/start/dokumentation/medienmitteilungen/rss-feeds/nach-dienststellen/medienmitteilungen-und-reden.msg-id-81967.html

On behalf of the Konzerthaus Dortmund, the Fraunhofer Heinrich Hertz Institute in Goslar and the measurement technology company ParteQ have experimentally investigated the spatial dispersion of aerosols and CO2 in a concert hall. The study was carried out in collaboration with the Federal Environment Agency and hygiene experts. It is the first published study with the aim of obtaining experimental data to assess the potential risk of coronavirus infection during visits to concert halls.

Extensive measurements were taken in the auditorium and foyers of the concert hall on November 2/3 and 20, 2020. The evaluations of the experimental investigations show that the risk of transmission of infections through aerosol transmission can be virtually ruled out, especially in the auditorium under the given conditions. In particular, the existing central ventilation system and the wearing of a face mask greatly reduce aerosol and CO2 exposure, meaning that it would theoretically be conceivable for the auditorium to be fully occupied.

However, taking into account the access routes and foyers, a checkerboard seating pattern is recommended, i.e. 50 percent of the hall capacity. In addition to concrete results for a visit to the Konzerthaus Dortmund, the study can also be used to make statements for other concert halls or theaters of a similar size.

Original article: https://www.konzerthaus-dortmund.de/aerosolstudie/

The Culture Taskforce therefore sent another letter to the Federal Council the day before the probable extension of the cultural lockdown. In it, it calls for simple, swift and effective compensation and a strategy for the resumption of cultural life, also in the interests of the population who want to attend cultural events or are culturally active themselves. She writes:

"The Culture Taskforce cannot understand why the promised compensation has so far been slow or delayed. For example, the new form for loss compensation in accordance with the Covid-19 Culture Ordinance, which is based on the average values of the last two years, is not yet online in all cantons, although the statutory reporting deadline expires on January 31. This is untenable. There is therefore an urgent need for uniform regulations throughout Switzerland and a clear simplification of the confusing support measures. The hardship allowance must also be accessible to the cultural and event sector as long as numerous cantonal restrictions undermine the hardship allowance. On the one hand, events are no longer allowed to take place, but damage caused is not adequately compensated despite the ban if, for example, they are based in a canton that caps the compensation.

It is also difficult to understand the reluctance to grant urgently needed support, such as short-time working compensation for temporary employees. Fixed-term employment contracts are particularly common in the cultural sector. Nevertheless, short-time working compensation for temporary employees was only granted for three months until the end of March. In view of the current situation, this is incomprehensible.

The Swiss cultural sector has been put into an artificial coma. In the next few days, the Federal Council will determine the necessary adjustments to the cushioning measures. To survive this, the cultural sector needs, among other things:

• Short-time working compensation (also for temporary employees) until normal operation, but at least until the end of 2021
• Corona income compensation for all self-employed persons whose business has been restricted due to the pandemic measures, from a loss of turnover of 10% until normal operation, but at least until the end of 2021 and with payment of a business allowance
• Full compensation for cultural enterprises and cultural professionals (100%) without cantonal caps or exclusions until normal operations, but at least until the end of 2021
• Access to subsidiary hardship compensation also for cultural enterprises, whether sole proprietorship or legal entity, until normal operation, but at least until the end of 2021

It is unacceptable that the Swiss National Bank now has a distribution reserve of almost CHF 100 billion and yet only wants to distribute CHF 4 billion to the public sector in this time of crisis. There would be enough money in Switzerland for quick and adequate compensation to the paralyzed sectors such as culture ..."
 

The special analysis by GfK Entertainment in cooperation with the German Music Industry Association (BVMI) also shows that the total number of all streaming views since the start of recording in 2013 amounts to 457 billion. The special analysis is based on ad-based and paid music streams lasting 31 seconds or longer.

In the "most streamed song within 24 hours" category, Mariah Carey's "All I Want For Christmas Is You" broke its own record from the previous year (3.2 million) with 4.5 million clicks on December 24, 2020. "Last Christmas" by Wham! is now in second place with 4.2 million streams. Overall, Christmas tracks occupy the entire top 5 of the analysis and are responsible for eight of the ten most-streamed songs within one day.

The canton is providing around CHF 460,000 in support for artists and cultural practitioners hit very hard by the coronavirus pandemic in the coming year. Compared to previous years, this means an additional CHF 200,000 is available for work contributions. Part of the credit is now also reserved for pension contributions to the 2nd and 3rd pillars.

Creative artists can apply for a work grant of CHF 10,000, CHF 20,000 or CHF 30,000. It is also possible to submit an individual further education idea, which can include a specific residency or a stage. Another funding instrument is the residencies in the studio apartments in Rome and Berlin. The latter is made possible through cooperation with the Office for Culture of the Principality of Liechtenstein. In Rome, the apartment is available for two periods of three months and in Berlin for one period of three months.

The Office for Culture is organizing a joint information evening in cooperation with the St.Gallen Cultural Office and the City of St.Gallen Cultural Promotion Office. This is free of charge and will be held via Skype. Registrations are accepted here: www.kulturbuero.ch/sg/laden/beratung.

Winner of the Concours Musical International de Montréal 2017 and recipient of the Borletti-Buitoni Trust Fellowship 2016, Zoltán Fejérvári has performed throughout America and Europe, including at Carnegie Hall, Canada's Place des Arts, the Gasteig in Munich, the Lingotto in Turin, the Palau de Música in Valencia and the Biblioteca Nacional de Buenos Aires.

He has performed as a soloist with the Budapest Festival Orchestra, the Hungarian National Orchestra, the Verbier Chamber Orchestra and Concerto Budapest and has worked with conductors such as Iván Fischer, Gábor Tákács-Nagy, Ken-Ichiro Kobayashi and Zoltán Kocsis. His latest recording, Schumann, was released in May 2020 on the Atma Classique label.

According to the federal government's press release, it is already foreseeable that the number of cases will not fall significantly and sustainably in the coming weeks. The Federal Council therefore assumes that the measures adopted on December 18, 2020 will have to remain in place beyond January 22, 2021.

It proposes extending the closure of restaurants and cultural, sports and leisure facilities by five weeks until the end of February. This is intended to create planning security for the businesses and employees affected. After consulting the cantons, the Federal Council will make a final decision on the extension and its duration at its meeting on January 13. The Federal Council will also decide on further measures to cushion the economic impact on January 13.

Link to the full press release:
www.admin.ch/gov/de/start/dokumentation/medienmitteilungen.msg-id-81881.html
 

Andreas Böhlen is a recorder player with a broad spectrum. His fields of activity include early music as well as contemporary music and jazz. His specialty is improvisation in various historical styles of the 16th, 17th and 18th centuries. He leads his own early music formations, Theatrum Affectuum and Satyr's Band. He is also a member of various chamber music formations throughout Europe and collaborates with renowned orchestras. He is also active as a jazz saxophonist.

Carles Cristobal (born 1976) comes from near Barcelona and began his bassoon studies with Joseph Borras at the Conservatori Professional de Musica de Badalona. In 2004, he completed a diploma in early music at the Schola Cantorum Basiliensis with Claude Wassmer and Donna Agrell.
Since then he has worked as a freelance bassoonist and has collaborated intensively with various ensembles such as the Balthasar Neumann Ensemble, Hesperion XXI and Le Concert de Nations, the Basel Chamber Orchestra and La Cetra Barockorchester.

The Masters in Specialized Music Performance at the Bern University of the Arts HKB is the highest level of classical music education in Switzerland. Every year, the Eduard Tschumi Prizes are awarded for the best overall scores. In the current 2020 edition, the flutist Johanna Schwarzl in the "Music in Context/Music Mediation" specialization and the clarinettist Christian Spitzenstätter in the "Soloist" specialization each won a prize of CHF 6,000.

In her educational project "The Last Miller", Johanna Schwarzl and the male choirs Büren zum Hof and Kirchberg performed a version of Schubert's "Die Schöne Müllerin" that she had arranged in an old flour mill in Kirchberg.

In the soloist concert accompanied by the Biel Solothurn Symphony Orchestra, Christian Spitzenstätter interpreted his own composition, in which he incorporated his musical role models from contrasting genres of the 20th century not only as a bass clarinettist, but also as a saxophonist. He continued his recital in the Reithalle Bern as a concert installation with world premieres and a folk brass band.

With the support of the Bürgi-Willert Foundation, the two musicians will now also have the opportunity to perform chamber music or as soloists in the Bern Symphony Orchestra's seasonal program.

Christian Spitzenstätter. Photo: Peter Kraut

Despite the digital upheaval in music media and e-books, there has also been great stability in private music listening and book reading, writes the Federal Office. In contrast, the number of festival visits increased by almost 10 percentage points in 2019 compared to 2014.

In the area of music, concerts with pop or rock music were the most popular in 2019 (29%), followed by classical concerts and opera (25%) and concerts with Swiss folk music or brass band music (21%).

As in 2014, around 96% of the population listened to music privately. In terms of sound storage media, the decline in the use of CDs/DVDs is striking: it fell from 74% in 2014 to 53% in 2019. The trend for MP3 devices is also in sharp decline, falling from 41% to 23%. Most people still listened to music on the radio or TV in 2019 (89%), while 64% listened to music on their cell phone (2014: 45%, +19 percentage points) and 54% on a computer.

More info:
https://www.bfs.admin.ch/bfs/de/home/aktuell/neue-veroeffentlichungen.assetdetail.15044378.html

Finale. Strangely enough, after only 26 bars of piano improvisation to the Allegro of the Choral Fantasy. Furthermore, the orchestra should only enter at a signal from the pianist (Qui si dà un segno all' orchestra o al direttore di musica). An astonishing 586 bars follow. The strings enter with a march-like line as if from afar and approach in a crescendo, horns and oboes exchange brief call motifs with an echo effect, before the piano introduces a melody that Beethoven borrowed from himself - from the song composed in 1794/95 Love in return (WoO 118). It is the theme of the subsequent variations, in which the individual wind instruments are gradually introduced in an almost chamber-music style: Flute, oboes, the clarinets with bassoon, then the string section leaders as a quartet, finally the tutti, and later soloists and choir.

This peculiar work, which still occasionally divides opinion today, was the last piece on the program of Beethoven's great academy at the Theater an der Wien on 22 December 1808 - the crowning finale of a long evening that had already included the 5th and 6th symphonies, parts of the Mass in C major, the aria Ah perfido, the Piano Concerto No. 4 and an unscripted Piano Fantasy had been performed. Beethoven's idea that all the performers should join forces here is also evident from the program note, which announces the work as "Fantasy on the piano, which gradually develops with the entry of the orchestra, and finally with the entry of choirs as a finale ! ends".

Johann Friedrich Reichardt was invited to spend the evening in Prince Lobkowitz's box and recorded his impressions in the Familiar letters written on a trip to Vienna (1810). He too was surprised by the composition, but the performance had to be interrupted and rescheduled after an imprecise entry. The underlying structure, which reflected the entire evening, was thus lost from view: "Eleventh piece: a long fantasia in which Beethoven showed his complete mastery, and finally, at the end, another fantasia, which was soon joined by the orchestra and finally even the choir. This strange idea failed in its execution due to such complete confusion in the orchestra that Beethoven, in his holy artistic zeal, no longer thought of an audience or locale, but called out to stop and start again from the beginning. You can imagine how I suffered with all his friends."

However, the composition, which had been written down in a hurry, had not only been insufficiently rehearsed. Rather, the entire concert, which lasted four hours, exhausted both the musicians and the listeners, as Reichardt reports: "We held out in the bitter cold from half past six to half past ten, and found that you can easily have too much of a good thing - and even more so, too much of a strong thing." And so, in the end, those programmatic verses with which the Choral Fantasy brightly shining and emphatic in C major: "Accept then, you beautiful souls, / gladly the gifts of beautiful art, / when love and strength unite, / worth the favor of the gods to man."

Link to the project homepage "52 x Beethoven"

L'evento è nato da una collaborazione tra la Hochschule der Künste di Berna e il Conservatorio della Svizzera italiana di Lugano, con il supporto scientifico della Beethoven-Haus di Bonn e della Società Italiana di Musicologia. Circa 170 i partecipanti che si sono riuniti online per seguire le relazioni dei 18 studiosi (ed esecutori) tra i maggiori esperti del pianismo beethoveniano nel panorama internazionale.

Filologia, contesto e prassi esecutiva: queste tre discipline hanno prodotto innumerevoli studi sulle opere pianistiche di Beethoven, a partire dal periodo immediatamente successivo alla morte del compositore fino ai giorni nostri. Nonostante la qualità e quantità dei contributi, questa letteratura presenta ancora numerose zone d'ombra, la cui comprensione ad oggi risulta limitata.

Negli ultimi anni, un approccio particolare ha contribuito a portare alla luce importanti dettagli sull'interpretazione del repertorio Classico. Si tratta della ricerca artistica, come spiegano Thomas Gartmann, direttore del dipartimento di ricerca della HKB, e Christoph Brenner (diretto del CSI); l'unione della prospettiva scientifica e di quella artistica può giocare infatti un ruolo fondamentale nell'interpretazione di un testo musicale, aprendo un ventaglio di nuove ed interessanti prospettive esecutive.

Gli interventi del convegno hanno indagato: i cambiamenti socio-culturali che hanno segnato la diffusione e circolazione delle edizioni musicali di Beethoven; l'evoluzione della notazione musicale, che da quella "essenziale" del periodo Classico muoveva verso un maggior grado di specificità; la rapida e diversificata evoluzione organologica del pianoforte, che ha offerto al compositore nuove possibilità espressive. Due concerti nell'Aula Magna del CSI - trasmessi in diretta streaming - have inoltre rappresentato la dimostrazione sonora della fusione tra ricerca scientifica e pratica musicale. Nel primo, la fortepianista Olga Pashchenko ha proposto un'esecuzione di un programma interamente dedicato a Beethoven ed eseguito su due diversi pianoforti storici. A seguire, lo Zefiro Ensemble e il pianoforte storico di Leonardo Miucci (anche referente della conferenza), hanno invece accostato il Quintetto op. 16 di Beethoven a quello KV 452 di Mozart, invitandoci a cogliere le longues durées mozartiane nelle opere giovanili beethoveniane.

One of the topics most discussed during the four days of the conference was the close relationship between musical notation and performance. Lo studio di tutto ciò che il compositore si aspettava fosse implicitamente comunicato all'esecutore nella tradizione del testo musicale, è il punto focale dell'intervento di Clive Brown (Universität für Musik und darstellende Kunst di Vienna). "Leggere attraverso le righe", spiega, significa non solo ricostruire le indicazioni implicite nei testi musicali, ma anche comprendere la casistica in cui fosse legittima, e anche prevista, una "deviazione" dal testo stesso. Le ornamentazioni improvvisate, l'arpeggio di accordi, l'uso della flessibilità ritmica e del tempo rubato: questi alcuni tra i mezzi espressivi che il pianista, una volta acquisita una "corretta" interpretazione della notazione, potrà sfruttare al fine di produrre una "bella" esecuzione.

Anche Sandra Rosenblum, autrice di Prassi esecutive nella musica pianistica dell'epoca Classica (1991), si sofferma sul significato del testo musicale. Prendendo in esame differenti edizioni del Quintetto op. 16 per pianoforte e strumenti a fiato di Beethoven, la ricercatrice ci mostra come, nei primi anni dell'Ottocento, esse presentassero talvolta contenuti variabili: dalla collocazione delle indicazioni di pedale fino ad un uso indifferenziato dei segni di articolazione e dinamica. Al fine di comprendere se queste differenze fossero dovute a precise intenzioni esecutive oppure a semplici ragioni commerciali, le singole varianti necessitano di essere analizzate alla luce delle singole pratiche di commercio editoriale.

È ancora la contestualizzazione delle prassi esecutive, compositive e notazionali a dare spazio ai successivi tre interventi: Neal Peres da Costa (Sydney University) si occupa della pratica non scritta di "arpeggiare" gli accordi nella musica pianistica di Beethoven; Dorian Komanoff Bandy (McGill University di Montreal) si sofferma sulla trasformazione nell'uso degli abbellimenti melodici; Marten Noorduin (Oxford University) mostra l'evoluzione di segni di espressione come dolce o calando durante il corso della vita del compositore. Claudio Bacciagaluppi (HKB) inoltre consegna un'interessante prospettiva sulla storia della ricezione beethoveniana attraverso il contributo dell'editore svizzero Hans Georg Nägeli.

Tornando al significato del testo musicale, Yew Choong Cheong (UCSI University Institute of Music di Kuala Lumpur) e Leonardo Miucci (HKB) propongono due interventi interconnessi. Il primo introduce la complessa casistica in cui una certa flessibilità di tempo e ritmo fossero implicite nei segni di dinamica e di accentuazione, il secondo, si concentra sulle istanze particolari in cui Beethoven sembrerebbe comunicare intenzioni agogiche attraverso indicazioni di crescendo e diminuendo. Un altro brillante contributo sulla relazione tra notazione e prassi esecutiva è quello di Siân Derry (Royal Birmingham Conservatoire), che ci consegna una nuova e convincente prospettiva su di un dibattito di lunga data. La ricercatrice affronta la figurazione con note unite da legature di valore e diteggiatura differenziata (si vedano gli esempi dell'op. 106 e il recitativo dell'op. 110). Prendendo ad esame uno schizzo di Beethoven datato ca. 1790, la studiosa e pianista ricostruisce l'influsso di una particolare tecnica esecutiva per strumenti ad arco, il cosiddetto "tremolo ondulé", sull'immaginario pianistico del compositore. Egli ne avrebbe infatti ripreso il significato espressivo, dispiegandolo nel linguaggio pianistico tramite l'aggiunta di diteggiature peculiari. Gli schizzi sono nuovamente una tematica cruciale nella presentazione di Susanne Cox (Beethoven-Haus Bonn), che concentra la sua attenzione sul concetto beethoveniano di "opera" attraverso le fonti manoscritte. Christine Siegert (currently director of the Beethoven Archive and the Beethoven-Haus publishing house) invece tratta l'evoluzione dello stile compositivo dell'autore che, animato dalla ricerca di un linguaggio pianistico individuale, andava lentamente discostandosi dai canoni estetici del pianismo brillante viennese, e quindi dalla tradizione mozartiana.

L'indagine di Michael Ladenburger (ex direttore del museo e custode della collezione della Beethoven-Haus di Bonn) ci catapulta in una dimensione differente, e cioè nelle botteghe dei costruttori di strumenti nella Bonn degli anni 1770, le quali tastiere hanno influenzato e ispirato l'attività del giovane Beethoven. In those years i pianoforti stavano evolvendosi con estrema rapidità; i loro costruttori non solo producevano un numero sempre maggiore di strumenti, ma sperimentavano anche costantemente con questi, creando, anche in una stessa città, esemplari completamente diversi tra loro sia per costruzione che per possibilità espressive. La comprensione dell'influsso di queste caratteristiche sonore e costruttive sulle prassi esecutive e compositive di Beethoven è quindi stata una tematica molto presente nel convegno. Della risposta compositiva alla graduale estensione della tastiera (che partiva dalle cinque ottave), parla Martin Skamletz, direttore dell'Institute Interpretationn della HKB. Una riflessione necessaria per i musicisti specializzati su strumenti storici ma ancora importante per i pianisti di oggi che, nonostante la relativa standardizzazione dello strumento moderno, ancora affrontano la necessità di adattarsi ad un tasto leggermente più pesante o, nel caso di alcuni nuovi modelli della Bösendorfer, la possibilità di sfruttare o meno un'estensione maggiore della tastiera.

Passando al periodo viennese, Robert Adelson mette fine alle controversie sul presunto acquisto da parte di Beethoven del pianoforte francese Érard. Portando all'attenzione nuovi e inconfutabili documenti, Adelson conferma la teoria del regalo da parte del costruttore e specula che, piuttosto che un riconoscimento della sua fama, esso potesse far parte di un più vasto accordo editoriale con la ditta. Il fortepianista Tom Beghin continua il discorso sulle caratteristiche costruttive e sulle qualità sonore dello strumento francese, facendone un uso immaginativo al fine di sviluppare nuove idee nella sua pratica allo strumento.

Una particolare caratteristica di alcuni pianoforti del costruttore Anton Walter, i quali strumenti Beethoven aveva posseduto ed apprezzato a Vienna, è invece spiegata e dimostrata dallo studioso e tastierista Tilman Skowroneck. Il ricercatore si sofferma sul funzionamento del cosiddetto "split damper pedal", un dettaglio costruttivo che aveva già anticipato nel suo volume Beethoven the Pianist (2010). Il meccanismo permette di sollevare solo gli smorzatori delle corde nel registro acuto della tastiera, alternativamente all'intera casa degli smorzi, tramite una separazione (o "split") nel pedale stesso - in questo caso una ginocchiera. Tornando sul piano notazionale, Barry Cooper (University of Manchester) propone un'analisi dei segni di pedale negli autografi, negli schizzi ed edizioni a stampa beethoveniane. Autore di diversi libri monografici sul compositore e curatore di un'edizione pratico-interpretativa delle 35 Sonate, lo studioso si chiede infine quanto siano affidabili le moderne edizioni musicali nel rappresentare con esattezza le posizioni originali dei segni di pedale. Quale sarebbe, oltretutto, il significato di queste indicazioni realizzate su pianoforti moderni e con una tecnica pianistica moderna? Quest'ultima provocazione, posta dallo studioso Mario Aschauer (University of Texas a Huntsville), suona più come una domanda retorica all'interno del suo contributo. The invitation to the modern curators is to present the ambiguities inherent in the musical fonts in an intelligent way, so that they can provide indications of Beethoven's world and pensiero. This ultimate research also animated the round table that concluded the conference, mediated by the curator and manager of the Bärenreiter publishing house, Douglas Woodfull-Harris. Quale dovrebbe essere l'attitudine dei curatori nella preparazione delle moderne edizioni critiche/urtext? In che misura sarebbe egli inoltre responsabile della consegna, unitamente al testo, delle relative chiavi di lettura?

Sono stati inoltre discussi i limiti e vantaggi dei nuovi formati digitali e introdotti nuovi progetti editoriali riguardanti il genio di Bonn. La discussione si è infine spostata sulla responsabilità dei giovani studenti di musica e dei loro insegnanti, come sottolineato dalla Rosenblum. Con gli strumenti storici, le nuove edizioni critiche e gli studi di prassi esecutiva, possediamo potenti mezzi per la comprensione del linguaggio beethoveniano e del periodo Classico.

Il desiderio che ha mosso gli organizatori della conferenza si è infine realizzato. Based on the close contact between students from various areas of expertise and artists, the event has certainly inspired and informed the many young interpreters who took part.

Con questo in mente, il volume di atti di convegno (pubblicato dalla casa editrice Argus) è programmato per il 2021.

The archive of source material on women active in music culture will be supplemented by 34 letters from the singer Jenny Lind from the years 1850 to 1874 and a transcript of the song "Chanson d'autrefois" by the singer, pianist, singing teacher and composer Pauline Viardot from the estate of Maria Callas. The acquisition, with a total value of 18,000 euros, was made possible by the Mariann Steegmann Foundation.

Until now, only a copy of the setting of a text by Victor Hugo, which also appeared in print at the end of the 19th century, had survived in a foreign hand. The fact that an autograph by the composer is now available and could be acquired by the fmg can therefore be described as a particular stroke of luck. Another highlight is the provenance of the copy: It comes from the estate of one of the most important sopranos of the 20th century: Maria Callas.

Original article:
https://www.hmtm-hannover.de/de/aktuelles/meldungen/archiv/2020/dezember/artikel/wertvolle-neuzugaenge-im-archiv-des-forschungszentrums-musik-und-gender-verloren-geglaubte-briefe-d/

Since the end of October, the Federal Council has ordered a gradual tightening of the Covid-19 Ordinance due to the unfavorable epidemiological development, which has had a serious impact on the cultural sector. Cultural professionals, cultural enterprises and cultural associations in the amateur sector are once again confronted with a situation that threatens their very existence.

Against this backdrop, the Federal Council has decided to support cultural players more than before. In particular, the instrument of loss compensation for cultural professionals will be reintroduced. Furthermore, the income and asset limits up to which cultural professionals are entitled to emergency aid will be increased. In addition, transformation projects of cultural enterprises can now be supported with financial aid of up to 80% (previously a maximum of 60%).