At the end of the 1950s, Verena Scheidegger-Buser (1942-2023) took her first steps as a choir director after the church choir she had just joined threatened to disband. During her studies as a pianist and choirmaster at what was then the Basel Conservatory, she already conducted three choirs. Her prominent role models and teachers were the Swiss composer and teacher Theodor Diener, who wrote the oratorio Lazarus and Paul Schaller as a choir conducting teacher at the conservatory. As a working woman with a family, she successfully asserted herself among her predominantly male colleagues and put the valuable knowledge she had gained during her studies into practice by founding the Peterskantorei Basel in 1965, making her one of the pioneers of the Swiss choral conducting scene.

New impulses for church choirs

She is working on a new, pioneering "church choir" profile, which, in addition to monthly church services, also performs concerts with soloists and orchestra or secular serenades. For the first time, the singers receive vocal training during choir rehearsals, which was neither popular nor common at the time. Her choice of program is innovative with a clear concept. She knows the limits of her newly founded choir and forgoes the usual repertoire, which she prefers to leave to others, primarily professional institutions. In return, she attracts attention through clever programming, which does not escape the attention of the professional scene. In addition to works that were among the most frequently performed in the 18th and 19th centuries and have fallen into oblivion, including Graun's Death of Jesus or Herzogenberg's Birth of Christshe commissions compositions. These are perfectly matched to the Peterskantorei, while the soloists and orchestra have to deliver highly demanding parts. The oratorio Peter by the Basel composer Rudolf Jaggi (1940-2015). Anyone who gets an earful of it will realize that this is neither utility music nor artistic compromise. Improvisations, aleatoric passages and harsh dissonances are omnipresent. Moreover, this oratorio is an insider tip for today's choirs.

Ü 50

And once again, Verena Scheidegger is ahead of her time. As in all choirs, her own members age with her. In addition, age limits are being drawn in Basel choirs. Scheidegger seized the opportunity and founded the "Chor50" in collaboration with the Senior Citizens University and the Basel GGG. This time, not only Switzerland but also other countries are looking to Basel. The new choir consists of experienced and seasoned singers from existing concert choirs. Scheidegger is convinced that something can be done vocally, and she is right. According to anecdotal reports, people under the age of 50 who wanted to sing were also interested, whereupon the choirmaster asked for patience and put them on the waiting list. This demonstrates yet another strength of character. Far be it from her to compete with other clubs. On the contrary, she took an interest in the work of her colleagues and supported them in word and deed. She was a regular guest at the concerts of the choirs of the Basel University of Music and was always happy to get to know new choral music.

Finally, it should be mentioned that Verena Scheidegger was equally successful as a piano teacher at the Basel Music Academy.

Cantate Domino Canticum Novum - Sing to the Lord a new song, this was Verena Scheidegger's elixir of life. The choral scene mourns the loss of an artist and teacher who had a significant influence on musical life in Basel.

Martin Derungs was born in Chur on May 12, 1943. He was not closely related to the Graubünden musicians Gion Antoni Derungs, Gion Giusep Derungs and Urban Derungs, who were also composers. His father was the teacher Josef Derungs (1914-2002), who also made a name for himself musically, in particular as a choirmaster and music teacher.

Artistic career

Derungs received his first musical influences from his father and Lucius Juon (1913-2015), the charismatic church musician and founder of the Chur Singing School. He went on to study organ (Luigi Favini), piano (Hans Andreae) and composition (Paul Müller-Zürich) in Zurich. Further studies in composition then led him to Günter Bialas in Munich (1967-1971). He recalled that time with the following words: "I did exceptionally well with him. In contrast to Stockhausen or Boulez, he by no means tried to impose a specific tonal language on us - which would probably have been his own - and was very reserved in this respect. Nevertheless, we naturally listened to his works and appreciated them very much. What we learned from him first and foremost was the economy of means. If little comes to mind, you shouldn't write a symphony, but perhaps two miniatures."¹

Derungs taught harpsichord, basso continuo and chamber music at the State University of Music in Karlsruhe from 1980 to 1984. He was an editor at the music department of Swiss radio in Zurich and at the short-wave radio station "Deutsche Welle" in Cologne. However, Derungs was not cut out for this kind of work in the long term. "Radio work was interesting for me for a while, but after three years I'd had enough. A full-time job like this was too much for me. I didn't give any more concerts at all during this time, I just composed. I couldn't take it any longer, I had to get back on stage. So I went back to Zurich without a job in my pocket."²

Freelance musician

Derungs then remained essentially freelance. His largely voluntary commitments in the field of music promotion were numerous. He presided over the Musikerkooperative Schweiz, an association of improvising musicians, for four years. He was also president of the Schweizerischer Tonkünstlerverein for four years. He was a member of the program committee of the Künstlerhaus Boswil for nine years. He also chaired the Music Commission of the City of Zurich, where, among other things, scholarships and work years were awarded. Finally, he was in charge of the Musikkollegium Zürcher Oberland in Wetzikon for several years.

As a concert musician, he preferred the harpsichord. We remember, for example, a memorized rendition of the Well-Tempered Clavier, complemented by a piece of contemporary music in his typical manner.

Composer

To characterize his composing, let's let Martin Derungs himself have his say: "I was about 45 when I had found myself as a composer to the point where I could say: I do what I want, regardless of what others think. That was in the early eighties, when I realized what my style should be. Two factors were important for this: firstly, that I wrote quite a lot for vocals. I never wanted to bully the singers, but I always composed pieces that people liked to sing.

The second is the exploration of so-called early music. In this context, I wrote a whole series of new pieces for historical instruments such as the recorder, harpsichord or baroque violin. In the later eighties, I became interested in the world of music theater. The first major work in this genre that I was allowed to write was Grisons turmoil. Scenes around Jürg Jenatsch for the 700th anniversary celebrations in Davos. Three hundred people stood on stage in the final scene. Amateur choirs and no fewer than five orchestral groups were involved, spread across the huge scene.

I was also fascinated by the two projects that I was able to realize with the choir of the Bündner Kantonsschule. It's not a given that you can get fifteen to nineteen-year-olds excited about something like this. These young people had perhaps previously played a little Mozart on the piano and were now confronted with music that is probably not immediately accessible. In this project, one half was composed by me, the other half consisted of jazz. At first, of course, the young people responded primarily to jazz, but in the end they were rather oversaturated with it. But they told me that they had understood my pieces and enjoyed singing them. As a composer, it's important to me not to make any compromises and still remain understandable."³

 

Notes

1 Thomas, Stephan: Creating music and promoting music - the composer Martin Derungs, in: Grisons Yearbook 2013
2 Ibid
3 Ibid

The daily morning concerts of the Camerata Pontresina in the Taiswald forest are a summer evergreen, according to Pontresina Tourism. They have been held from mid-June to the end of September since 1910. In addition to the "spa orchestra" on the Tais concert square, small and large salon orchestra formations once also played in hotels and in pavilions in the hotel parks. Until the 1940s, they even played on the local ice rinks in winter. The Camerata Pontresina is still in use as Pontresina's official spa orchestra.

 Xaver Fässler, clarinettist with Camerata Pontresina since 1990, has now taken over the directorship from Jürg H. Frei. As "the doctor with the flute", Frei had led the Pontresina spa orchestra since 1989 and ensured the successful continuation of the legendary Camerata Pontresina. Fässler's aim, together with Daniel Bosshard, pianist and librarian of the Camerata, is to continue and further develop the tradition of the Engadin spa orchestras.

 

At the last meeting in May, the 40 or so participants were able to benefit from professionals: They worked with Simon Styles, tuba, Thomas Rüedi, baritone/euphonium and Julien Roh, alto horn, on their basics, specifically on literature or rehearsed ensemble pieces. The participants learned about the care of their instruments, visited an exhibition of sheet music and accessories and attended the final concert.

The Executive Board of the Tuba+ Forum Central Switzerland under President Remo Capra is looking forward to the next events:

October 28, 2023: 2nd Tuba+-Ensemble Day
December 16, 2023: Les Tubas de Noël
May 4, 2024: 3rd Tuba+ Forum Day

The festival has announced that Jacqueline Keller will be stepping down from her role as Director of Murten Classics after 20 years at the end of this year's festival. For the 2024 festival, however, she will still be in charge of the production part, i.e. working with the artistic director and taking care of artist engagements and support. A successor has been lined up and will be announced in due course.

The media release from Murten Classics

How the World Youth Music Festival (WJMF) it offers competitions at the highest level for orchestras in harmony, brass band or big band formations. Other competition disciplines include parade music, the indoor show competition and tambourine competitions in various categories. Youth music formations with members up to the age of 25 can take part (three joker members who are older are permitted).

The jury is made up of renowned musicians from Switzerland and abroad. Trumpeter and Mnozil Brass founder Thomas Gansch is a festival ambassador, while Erich Zumstein, Director of the Zurich Conservatory of Music, is the festival director.

Registration deadline until October 31, 2023

Clubs from Switzerland and abroad can submit their applications via the website until October 31. Register participation. Anyone who has already left adolescence behind them but would still like to be actively involved can register as a helper. Among other things, we are looking for people to support the clubs from Germany and abroad.

World Youth Music Festival

The World Youth Music Festival Zurich (WJMF) was founded on the occasion of the 25th anniversary of Jugendmusik Zürich 11 and has since developed into an international festival for amateur musicians between the ages of 9 and 25. Since 1985, between 2,600 and 4,500 young people from all over the world have traveled to Zurich for each festival to meet like-minded musicians from other clubs around the world, to make music with them and to compete with them in various categories. Over the past 33 years, a total of 250 orchestras from around 50 countries have come together for a fascinating musical competition. The last WJMF took place in 2017. The 2021 festival did not take place due to the pandemic.

www.wjmf.ch

The Youth Classics Swiss International Music Academy (SIMA) is a private initiative to promote young musical talent. During the summer vacation period, this year from July 14 to 23, the Academy offers intensive, high-quality musical training to musicians who are studying at a music academy or aspire to study music in the future. 96 musicians from 24 countries - around a third of them from Switzerland - are taking part in the 13th SIMA on the music island of Rheinau.

Individual lessons, rehearsals and special insights

Lecturers from renowned music academies such as the Zurich University of the Arts, the Bern University of the Arts, the University of Music and Performing Arts Vienna, the University of Music and Performing Arts Munich, the Hanns Eisler School of Music Berlin and the Berlin University of the Arts work with the participants during the Academy as part of the solo lessons. In addition to individual lessons, there are rehearsals with accompaniment and chamber music lessons as well as various special events. For example, the participants build a violin as a team in a violin making workshop under the guidance of renowned violin maker Stefan-Peter Greiner and improve their own practicing and performance skills in the workshop "The path to mental strength". Various special and sponsorship prizes will also be awarded.

International encounters at all levels

The participants and teachers from all over the world live in one place during the Academy on the music island of Rheinau. This further promotes the exchange of ideas with important music teachers and like-minded musical talents. As a special highlight, the leading international violin soloist Julia Fischer will give an insight into her work as an artist as part of a special master class.

Public concerts

To various public concerts the young musical talents show off their skills. Some selected musicians will perform at the final concert on July 23, 2023 in the large concert hall of the Zurich University of the Arts in Zurich.

Presentation of the participants of the 13th Swiss International Music Academy 2023
Thursday, July 20, 2023 / Friday, July 21, 2023 - 7.30 p.m. in each case
Mill hall, Klosterinsel 2, 8462 Rheinau
Admission free - collection

Final concert of the chamber music groups
Saturday, July 22, 2023, 2 p.m.
St. Nikolaus mountain church, 8462 Rheinau
Admission free - collection

Closing concert of the 13th Swiss International Music Academy 2023
Sunday, July 23, 2023, 5 p.m.
Zurich University of the Arts, Great Concert Hall, Toni-Areal,
Pfingstweidstrasse 96, 8005 Zurich
Admission free - collection

The fifth Othmar Schoeck Festival after 2016, 2020, 2021 and 2022 will focus on the composer's place of origin and the environment in which Othmar grew up with his three brothers Paul, Ralph and Walter. How have the cultural conditions there changed since the beginning of the 20th century? And what is the current state of culture in the canton of Schwyz?

Motto

"Le plus beau pays du monde?"
Like his colleague Alfred Schoeck (1841-1931), Othmar's father, the landscape painter Alexandre Calame (1810-1864) had studied under François Diday (1802-1877) in Geneva. He was fascinated by the view of Lake Uri and the snow-covered Alps. He described these surroundings as "the most beautiful stretch of land on earth".

The Othmar Schoeck Festival puts a question mark behind Calame's quote, which still adorns a stone in front of the long since burnt down Hotel Axenstein. How were the four Schoeck brothers able to pursue their artistic inclinations there at the time?

Music

Schoeck's songs can be heard in Cornelia Kallisch's master class: how they are first polished and then how they sound when performed.

In concert with the Swiss Symphonic Wind Orchestra, Schoeck's Prelude op. 48 will be performed. The program also includes works by his contemporaries Hindemith and Weill as well as current pieces by Oliver Waespi and Stephan Hodel. The Othmar Schoeck Festival has honored the versatile Swiss composer Stephan Hodel commissioned a work: Information overload will be premiered on September 2 in the Werkhalle Dettling. The Swiss Symphonic Wind Orchestras plays under the direction of Niki Wüthrich.

The former park around the artists' villa and the Hotel Eden invites you to linger each evening from August 31. An installation with light and sound transforms the grounds into a "Garden of Eden".

Discussion

Cultural policy issues from the past and present are at the center of both Heidy Greco-Kaufmann's lecture on Oskar Eberle as well as on the podium Cultural issues under the direction of Bruno Steiner.

Details on the program under this link: https://schoeckfestival.ch/2023-le-plus-beau-pays-du-monde/

 

The Swiss Music Newspaper is a media partner of the Othmar Schoeck Festival.

The mathematical root sign is the theme of this year's Bern Music Festival program. Some people will initially think of mathematical operations, but at the same time imaginary (numerical) spaces and further questions and associations open up behind it. Where do our origins lie, how deep do our roots go: biologically, culturally, musically, biographically? How do we deal with this? Especially today?

The themes that the Bern Music Festival adopts every year are ambiguous and leave a wide range of meanings open. Previous years have been entitled "Irrlicht", "Schwärme" or "unvermittelt". Musicians from the city and canton of Bern are invited to submit their project proposals. The four-member board of trustees, which is responsible for the artistic direction of the festival, selects several concepts, supplements them with its own ideas and uses them to create a program. The scope ranges from concerts with improvised and composed music and music theater to installations, performances, films and discussion events. Communication plays an important role in this.

Root year 2023

Each project takes up the theme in its own way: In the root year 2023, for example, there is the ensemble Mycelium, which already has the mushroom in its name and has already enriched previous festival years in an unmistakable way. The root serves it "as a metaphor for our current rootedness in the (real and virtual) world, we use it as (edible) matter (root vegetables), we eavesdrop on its connections and connections in the communication network of plant ecosystems and we use it as a mathematical component in experimental sound processing".

The vocal ensemble SoloVoices explores the origin of species and therefore also of mankind in L'origine des espèces of the Greco-French composer Georges Aperghis, who was a long-time lecturer at the Bern University of the Arts and played a key role in shaping théâtre musical in Switzerland. Other concerts explore "Back to Bach" or local roots, such as the artist Meret Oppenheim, who once discovered her rebellious side at school here.

Numerous important Swiss composers come from Bern and once studied here with Sándor Veress, including Heinz Holliger, Jürg Wyttenbach and Roland Moser. His Brentano fantasies are the focus of the "Roots in Bern" concert. Moser has also been commissioned by the festival to set a text by Mani Matter to music. Half a century after his death, the chansonnier from the Swiss capital, who died young, is still a shining light on the local cultural scene.

Several epochs

Another important figure on the Bernese scene will be featured in the Arditti Quartet's concert: Daniel Glaus, composer and, until a year ago, cathedral organist. He will be performing a new string quartet. World premieres are therefore an essential part of the Bern Music Festival. However, it is not just a festival for new music, but always brings several epochs into play. For example, Mahler's Song of the earthin the chamber orchestral version by Reinbert de Leeuw. Peter Rundel conducts a collective ensemble.

The Bern Music Festival is thus strongly rooted locally and regionally, but at the same time seeks international comparison and charisma beyond the narrower area. To this end, the French composer Éliane Radigue was chosen as the composer in focus: Her unique, reduced music, which reaches to the fundamentals of sound, will be heard in four concerts at the festival. The Belgian vocal ensemble Graindelavoix, which has found radically revolutionary approaches to the music of the late Middle Ages and the Renaissance, is a guest ensemble in residence in Bern.

Music and science

The Bern Music Festival thus attempts a balancing act: the direct experience of sound and the communication of extremes. Communication with the audience plays a decisive role in this. A series in which music and science meet can also be seen in this context: Aspects of the festival theme - this year, for example, the Woodwideweb or birth - will be picked out and discussed. A short scientific presentation is artistically complemented by a new piece or performance; both sides then enter into conversation with each other. This always leads to a stimulating exchange of experiences.

The Bern Music Festival " √ " takes place this year from September 6 to 10. Tickets and info: musicfestivalbern.ch

The Ticino Milo Ferrazzini (Munich University of Music and Performing Arts) won first prize and the Guy Fallot Special Prize. Pascale Fallot, the daughter of the famous cellist, presented him with the prize. Ferrazzini's interpretation of works by Dieter Ammann, Ludwig van Beethoven and Nadia Boulanger impressed both the jury and the audience.

The two other finalists in the competition, Clara Schlotz (Conservatoire de Lausanne) and Axelle Richez (Zurich University of the Arts), both won a 2nd prize ex aequo.

One of the special features of the Concours d'Interprétation Musicale de Lausanne is the award for piano accompanists. This year, Guy Fallot's family also donated this prize. It went to Yukiko Tanaka, piano accompanist at the Haute Ecole de Musique de Lausanne.

The jury was made up of François Guye (President), Sonia Wieder-Atherton, Ophélie Gaillard, Nicolas Chalvin and Christian Favre.

Schlaefli will be responsible for artistic planning together with the young orchestra members. As an expert, he will accompany the auditions and strategically develop the orchestra.

The sudden death of the long-standing chief conductor Kai Bumann in June 2022 was a great personal and artistic loss and presented the SJSO with challenges behind the scenes. The current appointment of Schlaefli will enable a fair and transparent search for a chief conductor with the necessary lead time. The advertisement will be published in the fall of 2023, and after rehearsals and tours, the selection is expected to take place in May 2026.

Ideal cast

Johannes Schlaefli is Professor Emeritus of Orchestral Conducting at the Zurich University of the Arts and a permanent guest professor at the Frankfurt University of Music and Performing Arts.

He is in great demand internationally as a conducting teacher. Invitations to the Sibelius Academy in Helsinki, the Aspen Music Festival and music academies in Vienna, Berlin and the Juilliard School in New York bear witness to his strong charisma. He is head of teaching at the Conducting Academy of the Menuhin Festival Gstaad.

Johannes Schlaefli was at the helm of the Serenata Basel (now the Basel Chamber Orchestra), the Bern Chamber Orchestra, the Kurpfälzisches Kammerorchester Mannheim and the Collegium Musicum Basel. He has appeared as a guest conductor with many orchestras worldwide. In Zurich, he has also been known for decades as the conductor of various academic orchestras.

As an alumnus of the SJSO, with his immense experience and his artistic and human qualities, he is an ideal choice for the artistic direction of the SJSO.

Talent factory

The Swiss Youth Symphony Orchestra SJSO is one of the few cultural institutions in Switzerland. It has been Switzerland's symphonic talent factory since 1969. Talented young musicians aged between 15 and 25 from all parts of the country delight audiences from Geneva to Rorschach in two tours a year. Former members now play in renowned orchestras in Switzerland and abroad.

Dates

• Fall tour 2023: Mahler 7 with Christoph-Mathias Mueller
• Spring tour 2024: Firebird with Modestas Pitrėnas
• Autumn tour 2024: Sibelius violin concerto with Johannes Schlaefli
• Next audition for new orchestra members: January 2024 (dates from fall under www.sjso.ch)
• Applications for the position of Principal Conductor of the SJSO can be submitted from the fall via www.sjso.ch be submitted.

The Unite Classics association organized this year's Steinway Piano Competition Switzerland together with Musik Hug. Stefan Szypura, Jonathan Ng and Alexander Sahatci were awarded first prizes in the three age groups thanks to their outstanding musical performances. Alexander Sahatci also emerged as the main winner. This gives him the opportunity to perform at the international Steinway final concert in Hamburg in mid-September.

The jury consisted of Jun Kanno (Japan/France), William Fond (England) and Benjamin Engeli (Switzerland). It was chaired by Tamara Kordzadze (Switzerland/Georgia) and praised the high standard of the young participants. The jury president is convinced that the competition motivates young pianists to discover and develop their full potential.

 Master classes, during which participants were able to benefit from experienced artists, complemented the competition.

In addition to the main prizes, Unite Classics also awarded special prizes to recognize exceptional achievements in various areas. For example, "The best teacher" prize went to Arta Anricane and Fernando Viani in recognition of the crucial role teachers play in the artistic growth of young talents.

A particular highlight of the competition was the use of the Steinway Spirio-R grand piano, which combines the world of classical music with cutting-edge technology. The Steinway Piano Competition Switzerland was the first piano competition in the world to use this technology in 2020/21 and again this year. High-resolution recordings of the performances were made at the preliminary rounds, allowing the jury to evaluate participants in unprecedented sound quality, whether they were performing live in Zurich or in a digital preliminary round. The recordings, combined with high-resolution video recordings, were transmitted digitally to the jury. This approach can contribute to the modernization of international competitions and has proven to be extremely useful, especially during the pandemic two years ago.

The next Steinway Piano Playing Competition Switzerland will take place in spring 2025. Initial information can be found at https://www.uniteclassics.com/steinway

The new Brugg Festival is to take place every year. It complements Sebastian Bohrens Concert series Stretta Concertswhich regularly invites orchestras such as the Munich Chamber Orchestra, the Basel Symphony Orchestra, the Orchestra della Svizzera Italiana or the Festival Strings Lucerne and artists such as Daniel Hope, Heinz Holliger, Cristian Macelaru or Emmauel Tjeknavorian.

At the Brugg Festival 2023 Andreas Haefliger, Julia Hagen, Maximilian Hornung, Reto Bieri, Dmitry Smirnov, Sarah Christian, Valentine Michaud and the Georgian Chamber Orchestra as well as the Chaarts Chamber Artists will be among those performing. 450 primary and secondary school pupils will also take part in educational projects ("echo") related to the festival.

Lionel Pointet completed his Master's degree at the Haute Ecole de Musique de Genève at the age of 22. Since then, he has continued his education at the ZHdK (orchestral conducting, music education) and in master classes.

While still studying for his master's degree, he earned the position of second horn at the Philharmonia Zurich, which he still holds today.

Lionel Pointet has a wide range of practical performance experience, particularly in historical performance practice. He is a sought-after soloist with orchestras and festivals, a sought-after chamber music partner and is involved as a coach and expert at competitions and auditions.

Table of contents

Focus

It's about what the mountains awaken in me
Interview with the cellist and composer Sara Oswald

The mysterious path of the transverse pipe to Valais
Drummers and pipers in Val d'Anniviers

Alpine landscape musicians
Ernst Krenek Travel book from the Austrian Alps and Othmar Schoeck's Hike in the mountains

Favorite places for festivals at altitude
Examples from the cantons of Valais and Jura

 (italics = summary in German of the original French article)

 

Critiques

Reviews of recordings, books, sheet music

 

Echo

Lola Blue in the green
Smashing Kreisler show on the Moosegg

Radio Francesco - Dragons

Une édition anniversaire
Piano à Saint-Ursanne fête sa vingtième édition

The "Reger pianist" Hermann Wiebel
His time as principal clarinettist with the Zurich Tonhalle Orchestra

Kurt Widmer
A universally informed singer

Mario Venzago
The conductor as composer

Filigree sounds
Lucerne Guitar Concerts

Young choirs, great class
13th European Youth Choir Festival Basel

"Vergegeigt - Opera"
An opera gone wrong at the Stadttheater Basel

A walk through Zurich's music history
Audiowalk by Simona Ryser and Roger Nickl

Countering Parkinson's symptoms with music
Research in concert

Comment donner l'envie de découvrir ce que l'on ne connait pas ?
Médiation musicale

 

Base

Articles and news from the music associations

Swiss Federal Orchestra Association (EOV) / Société Fédérale des Orchestres (SFO)

Konferenz Musikhochschulen Schweiz (KMHS) / Conférence des Hautes Ecoles de Musique Suisse (CHEMS)

Kalaidos University of Music / Kalaidos Haute École de Musique

Swiss Music Council (SMR) / Conseil Suisse de la Musique (CSM)

CHorama

Swiss Society for Music Medicine (SMM) / Association suisse de Médecine de la Musique (SMM)

Swiss Musicological Society (SMG) / Société Suisse de Musicologie (SSM)

Swiss Musicians' Association (SMV) / Union Suisse des Artistes Musiciens (USDAM)

Schweizerischer Musikpädagogischer Verband (SMPV) / Société Suisse de Pédagogie Musicale (SSPM)

SONART - Musicians Switzerland

Swiss Youth Music Competition Foundation (SJMW)

Arosa Culture

SUISA - Cooperative Society of Authors and Publishers of Music

Swiss Association of Music Schools (VMS) / Association Suisse des Écoles de Musique (ASEM)

 

Mountaineering with orchestra
Puzzle by Michael Kube

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