In the Bachelor of Arts in Music program, 61 graduates received their diplomas, 43 of them in the Classical profile and 18 in the Jazz profile. A total of 45 diplomas were awarded in the Master of Arts in Music program, most of them in the classical performance profile (16). In the Master of Arts in Music Education, 53 graduates obtained their professional qualification for teaching at music schools or secondary schools, with the majority of diplomas in the classical profile (31).
In addition, 45 professionals completed their further training with a Diploma of Advanced Studies (DAS) or a Certificate of Advanced Studies (CAS).

At the graduation ceremony, three prizes, each worth 2,000 francs, were awarded by the Strebi Foundation for particularly outstanding Bachelor graduates. The winners were Nils Fischer (Bachelor of Arts/Music and Movement),
Flora Karetka (Bachelor of Arts in Music, classical music profile, majoring in flute) and Luca Koch (Bachelor of Arts in Music, jazz profile, majoring in singing).

More info:
https://www.hslu.ch/de-ch/hochschule-luzern/ueber-uns/medien/medienmitteilungen/2020/09/23/diplomvergabe-fuer-die-166-absolventinnen-und-absolventen-der-hochschule-luzern-musik/
 

According to Dirk Mürbe, Director of the Department of Audiology and Phoniatrics at Charité, the results show that aerosol emissions are also significantly higher in children when singing than when speaking, but vary greatly and are well below the emissions of adults. The results of this study will be used to specify the hygiene concepts for singing in schools and extracurricular activities and thus make it possible for children and youth choirs to sing again under certain conditions.

Four boys and four girls from the Berlin State and Cathedral Choir and the Girls' Choir of the Singakademie Berlin, who had many years of experience in children's choirs, took part in the study. The tests were carried out in the research clean room of the Hermann Rietschel Institute. The children completed various test tasks, using a laser particle counter to determine the number of aerosols formed in the size range from 0.3 to 25 micrometers.

Preprint of the study:
https://www.medrxiv.org/content/10.1101/2020.09.17.20196733v1

As a result, the BAK writes, reluctance has increased. At the beginning of June, only a quarter of the population wanted to wait until the end of the crisis before visiting cultural events. The survey also shows that the protective measures adopted and the support provided by the public sector to the cultural sector have met with broad approval.

At the beginning of June 2020, 24% of respondents were still prepared to visit cultural institutions or events again "without major reservations". The proportion had fallen to 18% by the end of August. 42% of respondents stated that they would not resume cultural visits before 2021; in the first survey, the figure was 22%.

There are certain differences in terms of the type of cultural offerings: While 36 percent of respondents state that they do not intend to visit a museum or exhibition before 2021, the proportion with regard to "performances such as concerts, theater, opera, dance, etc." is 43 percent.

Original article:
https://www.bak.admin.ch/bak/de/home/aktuelles/nsb-news.msg-id-80461.html

The name ELYS is a neologism made up of the initials Elsässerstrasse and Lysbüchelstrasse. The two buildings have been renovated over the last three years and separated from each other above ground. The resulting courtyard between the buildings, called Esplanade, invites people to linger and meet. ELYS is easily accessible by public transport, but also offers an underground parking garage with over 100 publicly accessible parking spaces.

In addition to the cultural and commercial building, the more than 26,000 square meter cantonal part of the Lysbüchel site will also be home to cooperative apartments, affordable apartments as part of the "1000+" municipal housing program, an elementary school with two kindergartens and daycare facilities, new workplaces, public green spaces and a neighbourhood square.

The Klingental church has been completely renovated and offers space for 30 cantonal sponsored studios for visual artists. It also houses the Klingental exhibition space, a platform for contemporary cultural activities.

The reopening and commissioning of the Klingental Church is an important milestone in the development of the barracks site. The conversion of the main building is still in full swing. From autumn 2021, around 5,000 square meters of space will be available there for culture, socioculture, creative industries and neighbourhood-related uses, supplemented by an innovative restaurant.

Gone are the days when critics could write diatribes about concerts that they hadn't even graced with their presence. Contact tracing is the magic word for putting an unloved guild in its place. So it was of no use to the reviewer that the Rychenberg Competition prizewinners' concert on September 9 was streamed live from the Stadthaus Winterthur. His lack of physical presence would have been noticeable despite his knowledge of the evening's proceedings.

Streaming was a stroke of luck, however, for the two composers Annachiara Gedda and Verena Weinmann, who had to stay away from the concert for quarantine reasons. Young composers rarely have the opportunity to put the sound combinations and dramaturgical sequences they hatch in the quiet chamber to the test of reality, especially with orchestral works. Digital technology has now allowed the two of them to at least not let the opportunity pass completely unused, even if the experience is not comparable to what you can hear in person.

Gedda and Weinmann are two of five prizewinners who were awarded prizes at the Rychenberg Competition and performed at the final concert. The international composition competition was launched in 2018 by the Musikkollegium Winterthur together with the Fotomuseum Winterthur, with the special feature that the participants had to relate their orchestral work to one of three photo series selected by the museum. An unusual task, for which 191 composers from over 30 countries have registered. In the end, 85 works were submitted by the end of March 2019, ten of which were nominated for the final concert by a jury led by President Alfred Zimmerlin. The Musikkollegium then made an effort for these ten pieces that cannot be overestimated. They were rehearsed within a very short space of time, recorded last summer under the alternating direction of Thomas Zehetmair and Pierre-Alain Monot and put online for a public vote. (They can still be heard at www.rychenbergcompetition.ch.)

The Audience Award was won by Fabian Künzli from Thurgau. His work The horizontal hourglass is a special case, as the version played at the prizewinners' concert did not correspond to the version presented online. This was accelerated by a factor of 8 while the pitches remained the same. This circumstance is somewhat thought-provoking. Because the fast-forward version, which the audience had chosen as the best contribution, seems like a caricature of music, flat and pale compared to the piece played live. It is a mystery how this experimental arrangement, which came across as cold, was able to warm up the audience. Perhaps it was the unusual concept?

The task itself also made you think. But there were no reflections on the relationship between visual and sonic art. Nor were there any digressions on the subject of "art about art". What attracted attention was simply the fact that eight of the ten nominees had chosen the same series of photographs as the subject of their creative will. Find a way or make one by Geneva-based photographer Anastasia Mityukova is inspired by the story of the North Pole explorer Robert Peary. The self-proclaimed first explorer of the North Pole faked the route and success of his journey. Based on this, Mityukova's photo series is a fictitious documentation of a polar expedition made in Switzerland. It was significant how the composers involved in the final concert explained their choice. The quintessence that emerged from all of them was that they were fascinated by the contrast between movement and statics. The majority of participants approached the task from the most general possible point of view. Movement - statics is an opposition that pervades our existence (life - death) and is inherent in all art, both as a problem and as a driving force. Accordingly, no specific point of reference was sought, but rather a series of photographs was chosen that allowed the greatest possible freedom for the artist's own composition. This is not to be criticized in principle, but it does call into question the relevance of the task.

However, in the end, the works for Mityukova's picaresque piece won the audience award and second and third place. With ICE_one_h by the Italian painter and composer Valerio Rossi, a piece of music made it to the bottom of the podium whose delicate calmness might have escaped the attention of a less attentive jury. However, Rossi's delicate, wandering and changing sounds in the orchestra seemed too spun in the context of a competition to make it to the top. In complete contrast to the reviewer's second-placed favorite. Chasing Ice by Annachiara Gedda, born in Turin in 1986, impresses with its immense colorfulness and a richness that unites strong contrasts. "New" sounds meet circus, aggression meets tenderness, mischievousness meets pathos. The fact that the broad spectrum of expression does not fall apart is thanks to the composer's sense of sound, who knows how to use the orchestra's possibilities with pinpoint accuracy.

In the end, it is significant that the first prize went to a composer who had not chosen Mityukova's pictures. Adél Koleszár's photo series Wounds of Violencein which the idyllic landscape of Mexico is contrasted with the visible scars of abuse and cartel violence, does not allow an approach in abstract categories. The images of injury and pain are captured by Buenos Aires-born Cecilia Arditto in Tissue and this is immediately translated into sound. Microtonal vibrations make it appear fragile and open the ears to the finest emotions. A communicative composition that speaks directly to the listener and deserves the highest accolade.

And finally, the jury's special prize also went to one of the two exceptions to the rule. Verena Weinmann, a young artist from Frauenfeld, devoted herself to a single picture from Koleszár's series, the Hills of Torreón. In doing so, she again showed a different approach to dealing with an image template. She transferred the proportions of the photograph onto graph paper in order to gain guidelines for the formal design. She evidently implemented this concept with appropriate artistic freedom, as her work never seemed contrived.

The Parliamentary Group on Music (PGM) had no choice at its second meeting of the year. For better or worse, it had to deal with the consequences of the coronavirus crisis. While the topic had been on the agenda in the spring, but not really on the agenda, the motto was now "5 months of the Covid-19 storm: consequences and implications for the music sector". And the latter are really drastic, as Stefano Kunz, Head of Political Work at the Swiss Music Council, explained at the beginning. The industry's turnover is likely to plummet this year - in view of Suisa's license income from performance rights (from concerts, music in the hospitality industry or entertainment events), which is down by around two thirds this year. Suisa is also expecting significantly lower revenues in 2021 compared to 2019.* This will have serious long-term consequences for music creators, who will have to expect significantly lower distributions from the copyright society in the coming years.

But that's not all. Another important source of income is also disappearing: music schools are reporting a drop in student numbers of up to 20 percent. Freelance music teachers in particular are feeling the effects of this. It was therefore clear to the Music Council that the previous financial aid from the federal government must be continued - which the National Council decided on the same day, but the Council of States rejected again the following day for the time being. Furthermore, freelancers and the self-employed should finally be given access to unemployment insurance (ALV) and loss of earnings compensation (EO).

Beat Santschi, the representative of the Swiss Musicians' Association (SMV), did not have much better to say. The permanent members of the orchestra are still protected by the collective employment contracts and have "only" had to accept wage cuts of up to 20 percent in some cases. Freelancers also suffer the most in the orchestral landscape, as they are the first to be cut by orchestras. However, it is completely unclear how concert life and thus the orchestras' income will develop. Organizers are therefore increasingly demanding that they be released from any obligations in the event of concert cancellations. After seven months of crisis, many freelancers are now definitely on the brink of financial collapse, emphasized Santschi.

Christoph Trummer, Head of Political Projects at Sonart, the professional association of freelance artists, explained what this means for him: most of his concerts have been canceled or postponed until next year, and he has had only one booking for the new tour planned from December since April. Gigs with an entrance fee have become financially unpredictable. The fixed business costs - primarily a rent of 650 francs - are barely covered by 750 francs EO. According to Trummer, planning the 2021 season is practically impossible. Cross-financing models would disappear, there would hardly be any larger festivals, which would also leave the agencies with nothing. A clear-cutting of the cultural ecosystem is to be feared.

The ideas of many politicians that the worst is now over for culture because events - even larger ones - are possible again were contradicted by the representatives of music clubs, festivals, labels and music managers who were also present. A typical music event has a lead time of around six months. There are still major hurdles even in the programming stage: prohibitive requirements, planning uncertainty due to changing entry regulations and unpredictable last-minute permit withdrawals turn the organization into a lottery. Ticket sales are not at all back to pre-corona levels. As a result, most event organizers are still facing a drop in sales of 80 to 100 percent. On average, their liquidity will last for another six months, after which many will have to call it a day: Lights out.

The Culture Taskforce of the Swiss Music Council lobbied parliamentarians intensively following the Council of States' decisions. In the end, one week after the PGM meeting, the Council of States also largely followed the National Council's line. The support measures for the self-employed and freelancers will be continued with confidence in the self-declarations of those affected, albeit not until the end of 2021, as the Culture Taskforce had called for, but initially until mid-June next year.

The topos of the gruff, quick-tempered Beethoven seems to be contradicted by the mighty, three-stepping beginning of the Overture to Coriolan op. 62 is exemplary. However, this composition is not a study of his own character, but a work that reflects the drama and tragedy of the eponymous tragedy by Heinrich Joseph von Collin (1772-1811): The Roman general Coriolan, once acclaimed and honored, falls from grace during a change of political power and is banished. His pride wounded, he leads an army against his hometown in alliance with his former enemies. Arriving at the gates, the renegade is asked by his mother and wife to spare the city and turn back. Caught hopelessly in the conflict between love of country and arrogance, the failed hero throws himself on his own sword. An archetypal, timeless story.

However, the overture was written too late in early 1807 to really be used as the opening of the play: at the premiere on November 24, 1802, an inter-act music composed by Abbé Stadler from Mozart's Idomeneo had arranged. The successful drama was staged on March 3, 1805, making Beethoven's Coriolan Overture a (if not the first) "concert overture" from the outset - an overture which, although based on a literary-dramatic reproach familiar to the audience, is heard in the concert hall completely detached from the theater. If such a score can stand on its own without the audience knowing the underlying theme, then this is due to its musical quality, the way in which symphonic forms and proportions are used. The work only appears "characteristic" in the sense of its emotional content.

Beethoven's Opus 62 was performed for the first time in one of the private concerts at Prince Lobkowitz's, who was also a leading member of the Vienna Theater-Unternehmungs-Gesellschaft. It stands to reason that Collin's tragedy was brought to the stage once again in this way and for a single performance - on April 24, 1807, now with Beethoven's overture.

Link to the project homepage "52 x Beethoven"

Only expenditure on streaming showed growth of 22% compared to the same period last year. In contrast, however, sales of physical sound carriers in particular fell drastically, with spending on CDs dropping by 25%. The live sector was hit even harder: spending on concerts fell by 80%.

There has also been a decline in the amount of time people in Germany spend listening to music. Since the study was launched in August 2018, weekly music consumption has fallen by eight percent (one hour and 46 minutes): It fell from 21 hours and 29 minutes to now 19 hours and 43 minutes.

Conventional radio in particular is in constant decline with a drop of 15%, although this is partially offset by strong gains in online radio. The latter recorded growth of 73%. According to the researchers, one possible explanation for the decline in music consumption is limited mobility and the focus on news in times of the coronavirus pandemic.

The "Music Industry in Germany" study conducted by DIW Econ is based on an online survey carried out between May 11 and June 29, 2020, in which 861 companies and self-employed individuals took part.

Original article:
https://www.musikindustrie.de/presse/presseinformationen/studien-zu-musikwirtschaft-und-musiknutzung-in-hamburg-vorgestellt

Even under the current difficult circumstances, the FHNW School of Music and the Basel Music Academy are planning a whole series of musical highlights for the coming fall semester, according to their press release: a symposium on dance as music, podium concerts with young up-and-coming talent, a cooperation project with the Basel Theater, concerts by the new Focusyear Band at the Jazzcampus Club and, last but not least, the traditional Open Day of the Basel Music School.

The music academies open the fall semester, coordinated throughout Switzerland, in mid-September. Due to the spring lockdown, final examinations, concerts and recitals are still being postponed. The primary goal of the management of the FHNW Academy of Music / Basel Music Academy is to maintain teaching and concert operations and thus the valuable culture of togetherness on site while adhering to a constantly updated protection concept.

Original article:
https://www.fhnw.ch/de/medien/newsroom/medienmitteilungen/medienmitteilungen-2020/studien-lehr-und-konzertbetrieb-nimmt-wieder-fahrt-auf-praesenzmodus-dank-schutzkonzept
 

Apparently, the coronavirus spread unnoticed within the production team during rehearsals at the Theater an der Gumpendorfer Strasse (TAG), writes the Music and Arts University of the City of Vienna (MUK). It was only after the premiere that the managing director of TAG, who was present at the theater, learned that there had been a suspected case in the production during the rehearsal period, which later tested positive.

According to the Viennese media, dance scenes had taken place in the auditorium at the TAG, among other things, meaning that there had been an impermissible mixing of stage and public areas. An employee of the State Opera, who had only been present as an audience member wearing a mask, had been informed too late to isolate her immediately. She later tested positive. As a result, changes had to be made to the cast at the State Opera.

The University of Music and Performing Arts Vienna (mdw) is not affected by the incidents.

Nevertheless, a deviating flow behavior was detected, especially in flutes, oboes and clarinets, which prompted members of the Federal Association of German Musical Instrument Manufacturers (BDMH), together with team leader Christian Kähler, to look for protective devices to remedy the situation, with the aim of eliminating any risk of infection.

In the course of further studies, the researchers discovered that room air filters make it possible to teach music; an important finding not only for general education schools, but also for music schools and so on, and with a view to the systemic relevance of music and culture in general.

In this context, an extremely high level of carbon dioxide exposure was identified even after a short period of teaching. This leads to concentration problems and has an impact on performance and effectiveness; numerous similar areas of public life are also affected. This is accompanied by the demand to use modern room air filters to counteract not only the coronavirus, but also the carbon dioxide problem in the future.
 

Of the first-year students at the ZHdK, 292 enrolled on a Bachelor's or Master's degree course in Music, 114 in Design, 83 in Fine Arts, 109 in Art Education and Transdisciplinarity and 99 in Performing Arts and Film.

The ZHdK is conducting the fall semester 2020 in face-to-face classes despite Corona. In the fall semester, masks will be compulsory in public areas as well as in courses, when working in groups or in the workshops. There will also be some digital teaching options. Masks for use at the ZHdK will be made available to all ZHdK members and guests.

The ZHdK's guidelines and specifications can change at any time. Based on the experience gained in the spring semester 2020, the proportion of digital teaching could be expanded quickly if necessary.

A total of 2194 people are studying at the ZHdK. Of these, 1246 are studying one of the eight Bachelor's degree programs and 948 one of the eleven Master's degree programs. The number of students has remained constant compared to recent years.

As the central body for the implementation of the 2003 Convention for the Safeguarding of the Intangible Cultural Heritage, the Intergovernmental Committee defines the strategies for the safeguarding and dissemination of living cultural heritage. It is responsible for the implementation of the Convention and, in particular, decides on inscriptions on the List of the Intangible Cultural Heritage of Humanity.

With the Convention for the Safeguarding of the Intangible Cultural Heritage, UNESCO aims to protect cultural heritage that is less related to buildings or spaces and more to time, community practices and social interactions. From Switzerland, the list so far includes the Basel Carnival and yodeling.
 

Anyone taking a look at the festival calendar will have long since noticed that for years now, a programmatically dense, discursive, imaginative and colorful-sounding music festival has been taking place in Bern at the beginning of September on both traditional and unconventional stages. This year's festival theme, "Tectonics", explored large and small-scale shifts, stratifications, folds and cracks. However, since the basic idea of the Board of Trustees, "As solid as the earth's crust seems to us, it still holds the unproven", proved to be true in such a radical way due to the corona crisis, the governing bodies of the Bern Music Festival were faced with difficult decisions. Even during the lockdown, however, the board of trustees, management and board of directors had agreed in principle that the festival would definitely go ahead with a strict protection concept depending on how things developed. At best, the program should be realized in a fragmented or even very reduced form - possibly even in fragments, paraphrasing the theme as it were. Cancellation was not an option, especially in view of the situation of freelance musicians. It is obvious that the new situation required partial changes to the program, larger rooms and, in particular, great flexibility on the part of all those involved. Surprisingly and fortunately, this did not affect the density and variety of the almost forty events held over five days. Only the presence of Toshio Hosokawa, the composer in residence, had to be dispensed with, but not his music and his presence via video link. The interpretation course planned with him for the students of the Bern University of the Arts was taken over by the Arditti Quartet. The fact that an ensemble of this renown made itself available for this additional engagement was a unique stroke of luck, but also a sign of the ensemble's sympathy, as the four musicians had already expressed their enthusiasm for the festival's concept and program at their performance last year.

The quartet's performances also clearly characterized this year's edition. The cooperation with young musicians in the performance of Toshio Hosokawa's monodrama The Raven (text by E. A. Poe) made a key feature of the festival a reality: The collaboration between local performers and top-class guests. The opening concert in the large hall of the Berner Reitschule with mezzo-soprano Christina Daletska (Hosokawa) and the Basel Sinfonietta (Ives) provided a wonderful introduction.

The large hall is another characteristic of the festival: the combination of thematically linked projects with special, sometimes surprising venues. For example, the newly developed Contrabassclarinet extended (Ernesto Molinari) entered into a dialog with live electronics in the Klingendes Museum, performative interventions inside the Monbijou Bridge made it possible to experience seismographic activities and the Trio Tramontana interpreted Kaija Saariaho's New Gates in the Blood Tower on the Aare. A magical and thought-provoking constellation awaited the audience in the middle of the Dählhölzli Forest, where the Mycelium collective, together with Brane Project (acoustic installation) and Idéehaut (buildings), created a floating net in the trees as a concert venue and combined contemporary music with Penan songs from the rainforest of Borneo in a composed program.

Anyone who ventures into the layers of the earth's crust cannot escape the different sounds of stone. In the stone studios of the Bernasconi company, the Mondrian Ensemble and Erika Öhmann (percussion) demonstrated the sometimes floating, sometimes electrifying sound world of the serpentine stone instruments orgalitho and lithophone in works by Edu Haubensak, Hans-Jürg Meier, Matthias Steinauer and in a world premiere by Samuel Cosandey. Peter Streiff and the Ginger Ensemble in the Nydeggkirche and the Stadttheater showed how Bernese building materials, be it sandstone or granite, sound in their natural state.

The audience in the crypt of St. Peter and Paul's Church experienced not just a "grandiose catastrophe", but a literally shattering experience when René Waldhauser tuned the instrument down to a string-banging noise to Peter Conradin Zumthor's hammered grand piano performance.

The unique versatility of the festival almost makes it impossible to speak of main acts. However, the concert in Bern Minster with the BernVocal ensemble (conducted by Fritz Krämer), the Arditti Quartet and a percussion quartet in the organ loft (Mihaela Despa, Peter Fleischlin, Pascal Viglino, Sacha Perusset) deserves a mention. The juxtaposition of Antoine Brumel's Mass Et ecce terrae motae with works by Hosakawa was a space-sound event of a special kind. Here too, sonic density, contrast and a change of listening perspective formed an unmistakable "trademark".

The Nigerian-born St. Gallen composer Charles Uzor tells of a completely different kind of layering in Mothertonguewhen he layers texts by the Igbo (an ethnic group in several equatorial African regions), Novalis, Celan, Rauhavirta and Beckett with old European music and music by the Gbaya peoples. The result is a conglomerate of cultures and sounds that may seem strange to us, but is also an expression of a current reality. In a project by Elina Bächlin and Noel Schmidlin, together with spoken word guests Guy Krneta and Marco Gurtner, cross-generational layers of text were transformed into the sound of language.

The concert by the quintet for reed instruments with Matthias Arter, Martin Bliggenstorfer, Valentine Collet, Béatrice Laplante and Béatrice Zawodnik proved to be an unconventional program of spatial sound. Unusual, because the program with music by Daniel Glaus, Barblina Meierhans, Heinz Holliger, Toshio Hosokawa and Matthias Arter in the rooms of the Berner Kunsthalle ranged from the singing of the oboe d'amore to the sharpness of the ensemble sound.

The cycle addressed a disturbing reality 5to12to6where composers and scientists addressed shifts in our minds, namely urgent questions about climate change, sustainability and social discrepancies.

Should and may one speak of a highlight or climax in such a concentrated offering? Before the intensity and technical mastery of the Arditti Quartet's concert with two quartets by James Clarke, the third string quartet by Ferneyhough and Tetras by Xenakis, paraphrases fade. The presence, apparent lightness and virtuosity of the four strings drew a standing ovation from the audience - and rightly so.

What would music history be without the creative moment? Or simply without the practical performance opportunity? So it was more of a coincidence that led to the creation of the Equal WoO 30 for four trombones, which today already seem somewhat strange in terms of the instrumentation. We owe these brief movements to a stay Beethoven made in Linz in 1812, during which he became friends with the then cathedral conductor Franz Xaver Glöggl (1764-1839). The latter is said to have asked him to write it, "to compose so-called Equale for 4 trombones for All Souls' Day (November 2) in order to have them blown by his musicians in the traditional manner on this festival". At least this is what Ignaz von Seyfried recalled. As Beethoven did not know the arrangement of these pieces, which had only been handed down locally, he asked for them, "to hear an aequal, as it was blown at the corpses in Linz". And the then 16-year-old son of the cathedral conductor, Franz Glöggl, continues in his much later record: "So it happened that one afternoon my father ordered three trombonists, as Beethoven was dining with us anyway, and had one of them play the aequalizer."

The three trombonists were presumably supported by Father Glöggl himself, and pieces were played that probably belonged to those days. 1200 Instrumental batteries which the cathedral chapel master could fall back on when blowing from the tower. However, the whereabouts of this collection are completely unknown. The strange work designation "Equal" also seems to originate from this local tradition of homophonic movements. It can also be found in pieces by a certain Wenzel Lambel (four-part, before 1844) or by the young Anton Bruckner (only three-part, 1847). These occasional pieces, composed on an afternoon in the fall of 1812, thus document a once lively custom that would otherwise have sunk into the maelstrom of history. - In Vienna, on the other hand, the three short movements were evidently of little use; they were provided with texts and performed with a male choir for Beethoven's own funeral and for the dedication of the gravestone.

Link to the project homepage "52 x Beethoven"