The times are not exactly favorable for lavish celebrations. The Orpheum Foundation, which wanted to celebrate its 30th anniversary at the Tonhalle Maag, also had to learn this. However, the concert hall remained closed due to coronavirus regulations. Nevertheless, the event was held twice on November 7, each time in front of an audience of 50, not in Zurich but at the Baden printing works. The organizer Piano District Baden had made the concert possible and repeated it twice a day later.

The podium was not occupied by an orchestra, as is usually the case at Orpheum, but by the pianist Oliver Schnyder, once also an Orpheum soloist, together with the young violinist David Nebel and the cellist Dorukhan Doruk. They played the Spring Sonata op. 24 and the Cello Sonata op. 102/2 by Beethoven, as well as his Gassenhauertrio - success was certain for the motivated musicians.

"It is a not insignificant effort that most concertizing musicians are currently willing to make," commented Oliver Schnyder. "The times demand it, especially the associated commitment to the importance of cultural diversity in a society that is just realizing the upheavals it is facing as a result of the pandemic." It was a chamber music concert with a signal effect.

This intimate setting was one of the most significant moments in the history of the foundation, which was once established with the idea of "giving young musicians the opportunity to perform in front of a large audience accompanied by prominent conductors and orchestras", as Foundation President Hans Heinrich Coninx defined it. This maxim has remained true, but since then "we have opened up new musical formats for our soloists, but also for our audience".

A concert like this with two young and one established musician broadens perspectives for both sides, as Schnyder explained: "The musical exchange between established and aspiring artists is not about teaching the other something, but about being inspired and questioning one's own views. The youngsters live in a different world than I did back then. They see it with different eyes, including music. I learn at least as much from that as they learn from me."

However, a chamber music concert cannot outweigh the magic of performing with an orchestra. Violinist Simone Zgraggen, for example, who was sponsored by the foundation in earlier years, has held a professorship in Freiburg i. Br. since 2012 and is concertmaster of the Basel Sinfonietta, enthuses: "In addition to the concert by Dvořák, which I was able to play in the Tonhalle Zurich, I was also able to perform with the Orpheum soloists Christian Poltéra, David Riniker and Florian Krumpöck in Salzburg, Moscow and again in the Tonhalle, including Beethoven's Triple Concerto."

Around 200 young musicians have enjoyed major concerts so far, including names such as Sol Gabetta, Truls Mørk, Alice Sara Ott, Renaud and Gautier Capuçon, Martin Grubinger, Vilde Frang and, more recently, Marc Bouchkov and Christoph Croisé. Fortunately, there are a large number of Swiss players among the participants, not all of whom have made the leap into the elite - that's also part of it.

For many, however, it was an important stepping stone, as cellist Maximilian Hornung says: "Orpheum was an inspiring experience in the truest sense of the word, incredibly motivating and instructive." Coninx offers an interesting addition: "When we realize that many of our soloists were not yet born when Orpheum was founded, then we are on the way to becoming an intergenerational project."

Orpheum has adapted and created new formats in order to be able to offer newcomers something special. Artistic Director Howard Griffiths describes the change: "In the beginning, CDs were important and a label looked after an artist for years, which is no longer the case. As a result, they are now often alone with their future, they have to use social media. In return, we have a larger selection of musicians, although the top has still remained pointed. But we always try to select performers with a great musical personality."

Nevertheless, the CD medium will continue to be used with the support of the foundation, for example with the recording of the cello concerto by Paul Wranitzky (1756-1808) with Chiara Enderle. There are already four recordings, and Griffiths says two more are planned for next year with solo concertos by Bernhard Romberg (1767-1841) and Georg Goltermann (1824-1898). They deliberately choose lesser-known works so as not to expose the up-and-coming musicians to comparison with the stars.
Radio SRF 2 recorded the anniversary concert in Baden, and the streaming version is available on the Orpheum website.

Due to the coronavirus situation, the 16th Biennial Conference will not be held physically in the Toni-Areal as planned, but digitally. At the conference, students, lecturers and members of the ELIA member institutions will explore the following questions: How can the arts collaborate with other disciplines to help solve environmental, economic, social and cultural challenges? What roles do art colleges play in this debate? And are transdisciplinary art academies the model of the 21st century?

ELIA has more than 260 member institutions from around 50 countries and represents more than 300,000 students.

According to a press release from Bern University of the Arts (HKB), the work explores "visual and acoustic aspects of stones". Rüfenacht and Schmid's "meticulous approach bordering on the scientific" uses a microscopic process to show recrystallization processes in a highly abstract resolution. The result is a visual surface that traces changes in the structure of the stones, as well as an acoustic surface that illustrates the subliminal nature of oscillation.

The jury was impressed by Cataclasite because of its fine, harmonious and atmospheric overall appearance.

Annie Aries (Annie Rüfenacht), born in 1988, is a composer and musician living in Bern. She studied music and media art in Bern and is currently completing her degree in musicology at the University of Bern. In 2017 she studied at the Humboldt University in the program Popular Music History & Theory.

The Cultural Promotion Commission of the Canton of Lucerne honored Bossart's "long-standing commitment to the promotion of cultural diversity in the Lucerne countryside" with this award. Bossart is a founding member of the Träff Schötz cultural association, which has been setting cultural trends for more than 35 years that have attracted attention far beyond the immediate region.

As media manager of the Lucerne Cultural Landscape Association and in his work as a journalist for the Willisauer Bote, Norbert Bossart gives culture a voice and draws attention to the lively cultural landscape outside urban centers with campaigns such as "Culture - our daily bread" or "Fire and flame for culture in the countryside", writes the canton.

The prize is awarded annually by the Cultural Promotion Commission to individuals or groups who make a special contribution to cultural life in the Canton of Lucerne.

The Culture Division received 20 applications for technical assessment by the panel of experts. Eight grants were awarded. Among the projects is the NOB Composition Workshop 2021 of the New Orchestra Basel.
Pupils of various ages set texts from the Basler Eule writing competition to music, and young people work on compositions with musicians from the orchestra.

The Pumpernickel Company's intergenerational music and dance education project is also supported. In six workshops, primary school children dance and make music together with residents of the Adullam care center. The Stimmenmeer project by the Theater Süd association (in cooperation with ASK-Chor Basel and the Momo care home) in turn explores "the polyphony and diversity of our society with interested people of all ages".

The call for proposals for the promotion of cultural mediation projects by the Culture Division is usually issued twice a year. Decisive criteria for the assessment include an adequate mediation approach, the relevance of the content and social relevance as well as the feasibility of the project and its impact objectives.

Original article:
https://www.bs.ch/nm/2020-unterstuetzung-fuer-acht-kulturvermittlungsprojekte-pd.html

When Beethoven offered his two piano trios op. 70 to the Leipzig publisher Breitkopf & Härtel in July 1808, he confirmed this with the postscript "because there is a shortage". Creatively, he was at the height of his career: the works are in the immediate vicinity of the Symphonies Nos. 5 and 6, the Piano Concerto No. 5 and the genre-defining Choral Fantasy. Opus 70 is dedicated to Countess Anna Maria Erdödy (1778-1837), in whose house Beethoven not only stayed for a short time, but which, as an aristocratic salon, also provided space for the performance of the works. Johann Friedrich Reichardt reports in his Familiar letters on December 31, 1808: "I had another double musical evening. First a quartet at Countess Erdödy's. Beethoven played quite masterfully, quite enthusiastically, new trio's that he had recently made, in which there was such a heavenly cantabile movement op. 70/2, 3rd movementas I have never heard of him before, and which is the sweetest, most graceful thing I have ever heard; it lifts and melts my soul as often as I think of it."

Beethoven's Piano Trio in D major op. 70/1 is far more radical, however. The succinct outer movements are of such great motivic and rhythmic energy that the limits of what is tonally possible are sometimes reached (provided the ensemble really risks this intended ruthlessness). This contrasts with the almost static slow movement (Largo assai et espressivo), which draws its inner tension primarily from the harmonies. However, its truly singular sound, which later earned the composition the nickname "Ghost Trio", is far more effective with a contemporary or even a replica keyboard instrument than with a modern concert grand. This is not only due to the lower string tension (the cast-iron frame had not yet been invented), but also the more subtle key action and the different dampers. This is exactly how the composer and writer E. T. A. Hoffmann emphasized it in a very detailed review of the movement - and thus recorded the special feature for posterity in poetic words: "... the Rec.ensent mentions only one more peculiarity that distinguishes and emphasizes this movement from so many grand piano compositions. When the violin and violoncello play the main theme, the grand piano usually has a movement in 64 sixths, which are to be performed pp. and leggiermente. This is almost the only way in which the tone of a good grand piano can be used in a surprising and effective way. If these sextuplets, with the dampers lifted and the piano slide, are played with a skillful, light hand, the result is a whisper that is reminiscent of the aeolian harp and harmonica and, when combined with the bow tones of the other instruments, is of quite wonderful effect. - In addition to the piano slide and the dampers, Rec. also used the so-called harmonica slide, which, as is well known, shifted the manual so that the hammers struck only one string, and sounds floated out of the beautiful stringed grand piano that enveloped the mind like fragrant dream figures and lured it into the magical circle of strange premonitions." (General musical newspaper 1813)

Link to the project homepage "52 x Beethoven"

Singing in non-professional choirs has been banned since October 29; professional choirs are allowed to rehearse but not to perform. The IG CHorama writes in its press release of November 4 that the ban on choral activities affects more than 4,000 association choirs and ensembles with over 120,000 singers and more than 600 choir conductors. Planning security is lacking. The choral world is helping to get the pandemic under control and reduce the number of infections by applying strict protection concepts for singing in groups. IG CHorama would like to see the ordinance amended so that singing in groups is possible under certain conditions and that professional choirs are also allowed to give concerts under certain conditions. It is prepared to work on a strategy so that the entire choral scene can "regain its radiance".

"... I sing, therefore I am/Chorsing in times of Corona" is an online petition by numerous choral associationsinitiated by the Swiss Catholic Church Music Association. It is aimed at parliament, the Federal Council and the Federal Office of Public Health. The associations are convinced "that singing in a choir has a positive impact on social life and health, especially in times of crisis". This is why singing in choirs or small ensembles should also be possible again for laypeople, provided that strict protection concepts are adhered to.

At the press conference on November 4, Federal Councillor Alain Berset held talks with cultural associations.
 

The IG CHorama consists of:
A cœur joie ACJ
Association de Soutien aux Chœurs d'Enfants et de Jeunes ASCEJ Association Vaudoise des directeurs de chœurs AVDC European Youth Choir Festival Basel EJCF
Reformed Church Music Association Switzerland RKV Swiss Choral Association SCV Swiss Professional Conductors' Association SBDV Swiss Federation Europa Cantat SFEC
Swiss Catholic Church Music Association SKMV Swiss Children's and Youth Choir Promotion SKJF Swiss Church Choral Federation SKGB
Association of Choral Conductors of Northwestern Switzerland VChN

With the support of the Swiss Association of Music Schools VMS

As part of the Pro Helvetia program "Coincidencia - Cultural Exchange Switzerland - South America", around 250 projects such as exhibitions, tours, reading trips, residencies and research trips have taken place in South America. They have led to collaborations between artists and cultural institutions in Switzerland and ten South American countries.

The Swiss Arts Council has now decided to establish a permanent branch office from 2021 following the four-year program. This will continue the partnerships in the artistic disciplines supported by Pro Helvetia. In addition to the performing, visual and interdisciplinary arts, these include music, literature, design and interactive media. The branch office will also develop collaborations as part of the new "Culture, Science and Technology" priority area and organize residencies and research trips.

To mark the opening of the branch office in South America, event partners in Argentina, Brazil and Chile are organizing free webinars on current cultural policy and social issues.

More info: https://coincidencia.net/en/initiative/opening-activities/

The Swiss Music Council (SMR) writes in its press release of October 30:
"On October 28, the Federal Council decided that public events throughout Switzerland will only be permitted with a maximum of 50 people until further notice. Discotheques and dance halls will have to close. Rehearsals by cultural associations in the amateur sector are only possible with a maximum of 15 people. Amateur choirs are no longer allowed to rehearse. There are also considerable restrictions in the education sector. In the short term, the promised support measures need to be implemented quickly; in the medium to longer term, the music sector needs prospects along the entire value chain. The umbrella organizations must be better integrated by the government decision-makers, and above all at an early stage. Only together can we succeed in preserving cultural diversity.

Stakeholders in the music sector understand that tough measures are needed to curb the rising number of infections and prevent the healthcare system from being overburdened. Everyone must play their part. This is why professional musicians, companies in the music sector (especially event organizers), associations in the field of amateur culture, educational institutions and music teachers have supported the federal and cantonal measures from the outset, invested heavily in protection concepts and implemented them consistently and responsibly. Nevertheless, the measures to contain the epidemic have had a drastic impact on the entire music sector.

It is becoming increasingly difficult to plan events at all because it is uncertain when, whether and under what conditions they will be able to take place. This has a particular impact on financing options and the search for sponsors, which are made even more difficult as a result. Even for events with only 50 people or less, it is also uncertain whether the public will come at all, as the authorities are understandably urging people to reduce social contacts. Many events can no longer be held profitably due to the limited number of visitors.

The organizational effort triggered by the official measures is enormous every time for all players in the music sector. Some tours have had to be postponed for the third time.

The cultural associations - in particular the umbrella organizations - must be better involved by government decision-makers, especially at an early stage, so that they can contribute their practical experience, clarify issues at an early stage, prepare well for upcoming measures and also understand and comprehend them (e.g. the ban on rehearsals for amateur choirs). Only together can we succeed in preserving cultural diversity and enabling creative artists and cultural enterprises to return to their work and thus earn their own living.
 

The promised support measures must be implemented quickly and the associated issues must be clarified with the involvement of cultural associations. The employment models in the cultural sector are complex and the expertise of the umbrella organizations is needed to ensure that the measures are effective. This applies in particular to culture-specific measures such as compensation for loss of earnings or contributions to transformation projects, but also to macroeconomic measures such as short-time working, compensation for the self-employed and persons similar to employers. The same applies to the hardship scheme for companies in the event industry value chain.

Another problem is already emerging. If hardly any events are organized due to the prevailing planning uncertainty, the cancellation compensation for cultural enterprises will no longer apply because nothing can be cancelled. Associations in amateur culture are also confronted with the same problem. They too will only receive financial aid for canceling, postponing or restricting events. As they are only allowed to rehearse to a very limited extent or not at all until further notice, hardly any more concerts are being announced.
 

At the moment, it is extremely uncertain how things will continue. But one thing is clear: cultural diversity must be preserved at all costs.

Switzerland's diverse music culture includes amateur culture, professional musicians of all genres, as well as the music industry (such as clubs, festivals, labels and agencies). The prerequisite for this diversity is music education at elementary school, music schools, music colleges, teacher training colleges or also provided by freelance music teachers and amateur associations.

It is essential to prevent the public stigmatization of singing and playing wind instruments. It would be disastrous if amateur culture, and with it the locally rooted associations that contribute so much to social and cultural life in Switzerland (largely through voluntary work), were to disappear due to long-term restrictions or even bans on association activities.

We now need clear information and a perspective with an exit strategy. Certain effects will only be felt after a considerable delay. For example, royalties from copyrights and performers' rights are an important part of the income of many music creators. The collapse of the live sector in the current year will lead to a significant drop in income for rights holders (composers, producers, publishers, performers) in 2021."

Shopping lists have been around for hundreds of years. However, they belong to a type of text that loses its purpose after a very short time. The piece of paper is then crumpled up, torn or simply carelessly thrown away. In earlier times it was used as tinder at best, but today it has long been the object of cultural-historical research. Beethoven also used such lists. In 2011, one such rare piece of paper went under the hammer for 74,000 euros. The requirements noted on it for the housekeeper were certainly many times cheaper. It is about a "MiceFall"a "ZündMaschine", "WashSoap" and three "BalbierMeßer"and there is also the note "Bejm Met watchmaker / her / metronome".

Beethoven would have been astonished at this price. It is possible that he would have invested in it himself. Unlike many other composers and musicians, he knew how to handle money, or at least how to "collect" it properly. As early as 1809, an annuity contract was concluded in his favor; he never sold his own works for less than they were worth; dedications to high-ranking aristocratic personalities were usually financially rewarded. However, it seems that Beethoven never really had an overview of his actual fortune. In any case, he was modern, willing to take risks and had been well advised by his friend Franz Oliva when, on July 13, 1819, he purchased shares worth almost 10,000 gulden Viennese currency - the equivalent of around 86,000 francs - from the newly created "privilegierte oesterreichische National-Bank" after the draining years of war. By the standards of the time, especially for a composer, this was a considerable fortune that would later provide for his nephew Karl and his children. The fact that Beethoven "reckoned" in the truest sense of the word with the dividend, which was paid out twice a year, is proven by the postscript of a letter dated February 8, 1823 to the chief accountant Franz Salzmann: "I ask you, as far as the dearest dividend is concerned, to make sure that I can receive it today or tomorrow, because our one always needs money, and all the notes I make don't get me out of trouble!"

It is reassuring that the title of one of the best-known piano pieces, namely The rage over the lost penny, unleashed in a capricepresumably by Anton Schindler. It can already be found in an explanatory footnote of the first edition, published posthumously in 1828 - while Beethoven merely describes the characteristic Rondo, composed around 1794/95, as Alla ingharese quasi un Capriccio had titled it. Either way, it is above all the musical wit of the movement that counts. When Robert Schumann got his hands on the composition in 1835, he noted with delight in the New Journal for Music: "It's hard to find anything funnier than this string, I had to laugh in one go when I played it for the first time the other day."

Link to the project homepage "52 x Beethoven"

The most important results include the insight that the total number of critical contacts lasting several minutes at the event is not very high and can be significantly reduced by hygiene concepts. Many contacts take place during admission and breaks in particular. Therefore, the focus of the planning must be on this. Poor ventilation can also significantly increase the number of people exposed to the risk of infection.

Around 90 percent of the study participants did not find wearing a mask a problem and were prepared to continue doing so in order to be able to experience events again. (Survey after the concert experiment). If hygiene concepts are adhered to, the additional impact on the pandemic is low to very low overall.

Original article: https://www.restart19.de/
 

The Tonhalle Orchestra Zurich and its management "very much regret this and sincerely hope that the situation will improve and that we will be able to hold events again in December". According to Ilona Schmiel, Artistic Director of the Tonhalle-Gesellschaft Zürich AG, all efforts have been made in recent months to maintain operations.

The refund of tickets for canceled concerts is the responsibility of the respective organizer. Tickets for canceled Tonhalle-Gesellschaft Zürich concerts are automatically credited to the customer's account.

The Tonhalle Maag is a temporary concert hall. It is primarily a venue for the Tonhalle Orchestra Zurich during the years 2017-2021, when the Tonhalle and Kongresshaus Zurich are being renovated, but is also available to other event organizers. The majority of classical music concerts in Zurich now take place in the Tonhalle Maag.

The regulations stipulate that cultural workers and associations from the cultural sector based in Aarau who are in need due to COVID-19 restrictions can apply for financial assistance from the city of Aarau. This applies retroactively from March 13 and until December 31, 2020, with a total of CHF 40,000 available for bridging assistance. In addition to the subsidiary payment of compensation for loss of earnings, the basic fees for the cultural use of public spaces and places will also be reimbursed under certain conditions.

In addition to the written justification of the emergency situation, applications for loss of earnings compensation also require proof that the application has been submitted to the relevant cantonal and national authorities and their decisions. In addition, income and expenditure, the asset situation and current liquidity must be disclosed.

For the waiver of basic fees for the cultural use of public spaces or buildings in the city, an application must be submitted with the corresponding invoices and a description of the planned or already held event.

Applications must be submitted by December 31, 2020 at the latest to the Kulturstelle, Abteilung Kultur Aarau, at kulturstelle@aarau.ch or by post to Rathausgasse 1, 5000 Aarau. The Cultural Office will continue to support creative artists and cultural associations in an advisory capacity.

The regulations on bridging assistance in the cultural sector can be found under the following link: https://aarau.tlex.ch/frontend/versions/302

Canceled concerts, closed stores and cinemas, reduced advertising on TV and radio - all of these consequences of the measures imposed to combat the spread of the coronavirus pandemic have had and continue to have a direct impact on income from the exploitation of copyrights: If music is not used, copyright compensation is also lost.

SUISA offers its members support in order to financially bridge the loss of copyright remuneration:

Withdrawal of advances

First and foremost, SUISA members have always had the option of receiving an advance payment. It is possible for both authors and publishers to receive an advance payment. The amount of the advance is calculated on the basis of the member's average income over the last few years. Advances are only paid out if the member has received an average of more than CHF 500 in copyright remuneration in recent years. Advances can be applied for by e-mail. Applications will be reviewed within seven days. You will be informed of the decision in writing by e-mail. If the application meets the necessary requirements, the advance will be paid immediately by bank transfer.

Normally, an advance is offset against the next statement that the member receives. This means that the amount received is deducted from the amount to be distributed. As an immediate measure against the exceptional situation caused by the coronavirus pandemic, the SUISA Board has decided to suspend the offsetting of advances at least until June 2021. The Board of Directors and management are closely monitoring the further course of the crisis situation in order to postpone the settlement date even further if necessary in line with economic developments. Either way, advances received will therefore have to be repaid next year from June 2021 at the earliest.

Support payments to members

If an advance payment is not sufficient and a SUISA member finds himself in an existential financial emergency due to the loss of copyright remuneration, he can apply for support payments from SUISA. For authors, funds from SUISA's welfare foundation are available for emergencies. In addition, the Board of Directors decided in spring to set up an additional relief fund as a further emergency measure, from which support payments can be made to both authors and publishers. The relief fund was approved by a large majority at the Annual General Meeting in June, which was held this year by postal vote.

As an exploiter of copyrights, SUISA provides support for the loss of copyright royalties. It is to be understood as a supplement to other federal or cantonal support measures. SUISA's funds for support payments are limited and only SUISA members can apply for support from SUISA.

The applicant must provide proof of financial need. Applications for support payments can be submitted via the "My account" member portal. The documents submitted will be reviewed within seven days. You will be informed of the decision in writing by e-mail. Payment is made by bank transfer immediately after the application has been approved. The support payments do not have to be repaid.

This article was first published on June 9, 2020 on SUISAblog.ch as well as in the News for SUISA members, SUISAinfo 2.20, June 2020.

> www.suisablog.ch

Bartók was one of his fateful composers. Schneeberger played the 2nd Rhapsody with Ansermet in 1946. From then on, he was regarded as the best violinist in Switzerland. Soon afterwards, he was able to give the Swiss premiere of Bartók's 2nd Violin Concerto. This in turn led to the premiere of the 1st Violin Concerto, which was only published posthumously. In 1952, Schneeberger took over the premiere of Frank Martin's Violin Concerto.

Schneeberger was a singular phenomenon as an artist, teacher and person. He always reacted directly. He was always on the lookout for better solutions. The pianist Jean-Jacques Dünki, one of his long-standing chamber music colleagues, recounts that even in old age, Schneeberger was still enthusiastic about a new fingering and immediately played it for him. The violinist worked on a breathing, light bowing technique: "He spent decades of his life tinkering with an extension of the bow stroke," says Egidius Streiff, who was a junior student with him at the Basel Music Academy. He was able to "spin" phrases on a bow almost endlessly and thus created his very own style.

Heinz Holliger, with whom he had a decades-long friendship, recalls: "His bowing was based on breathing ... He was interested in making the essence of the piece resound. To achieve this, he was prepared to question everything he had ever learned. He was the greatest role model a musician can be: never satisfied with himself and always discovering something new."

As a tall and heavy man, he worked on the ease of playing. He trained this lightness through his great hobby, ice skating, which taught him a completely new philosophy of violin playing: "You must not disturb the flow of movement. The one must emerge harmoniously from the other. If you mess up the movement at the beginning, the whole figure is broken," he said in an interview broadcast by SRF on the occasion of his death.

As a teacher, he was a primal force and left no doubt as to how he wanted things to be: "I'll do it this way," his students often heard when they were looking for musical solutions. After a concert, he could show his complete enthusiasm, but also his total dislike. Egidius Streiff reports: "I found him to be a very open-minded person. He was extremely broadly interested and wanted to know about everything that interested the pupil".

In the Great Hall of the Basel Music Academy, where Schneeberger had taught for 30 years, composers who had been among his favorites were performed on October 21, as well as pieces with an inner connection between the honoree and the performers.

Heinz Holliger began with an exemplary demonstration of what breathing music-making can mean in the Adagio from Mozart's oboe quartet. Intarsimile for solo violin from 2010 was originally composed by Klaus Huber for Schneeberger, but in the end his student Egidius Streiff took over the premiere; he was also on the podium this time. Heinz Holliger's enthusiasm for Schumann began when he heard Schneeberger play Schumann as a young student: "He had the key to this music," Holliger is convinced. Listening to Daniel Sepec and Tobias Schabenberger play Schumann's Sonata No. 1 in A minor was pure pleasure. Streiff had shown his teacher the Reger Sonata in E minor. Schneeberger was so enthusiastic about it that he promptly recorded it together with Jean-Jacques Dünki. Dünki and Streiff performed the work that evening.

French music was particularly close to Schneeberger's heart: "French music must taste good", he used to say. This olfactory character could be felt in the Allegro from Fauré's piano quartet with Gérard Wyss, Helena Winkelman, Mariana Doughty and Tobias Moster. The young Dmitry Smirnov, accompanied by Jean-Jacques Dünki, artfully spun the musical threads in Debussy's Sonata for Violin and Piano in G minor. He was able to benefit from Schneeberger's advice in the last months of his life. His last gift to his friend Heinz Holliger was the complete edition of the Ravel letters. In the Allegro of the Ravel Sonata for violin and cello, Ilya Gringolts and Anita Leuzinger skillfully played the awkward intervals to each other. Heinz Holliger had prepared the solo sonata Ri-Tratto (2011) and was inspired by the fugue from Bartók's solo violin sonata, which Schneeberger had often played. Ilya Gringolts performed it with a determined touch. He then offered a breathtaking version of the fugue.

The fact that Schneeberger had also composed, albeit largely in secret, became clear in the next part of the program. He had already started at the age of nine. Even then, his pieces were perfectly composed and displayed an original, personal language. Isabelle Schnöller joined those already mentioned for his two Haikus for flute and string trio (2011). In the first piece, flagolettes and bird calls could be heard; in the sound clusters of the second, one believed to recognize images of nature. Eingelegte Ruder (2015, picture at the bottom) for baritone, cor anglais, viola and violoncello is reminiscent of Franz Liszt's late work La lugubre gondola. Robert Koller has created C. F. Meyer's meaningful text over a sombre mood.

The program concluded with a light-hearted violinstafette with practice duets by Béla Bartók, which Schneeberger knew inside and out, as they were on the desk of his violin teacher Walter Kägi. He had been in constant contact with Bartók, who sent him the pieces to try out.