Summertime

Matthias von Orelli - Cellist Joachim Müller-Crépon (JMC), pianist Alexander Boeschoten (AB) and trumpeter Manuela Fuchs (MF) talk about how they spent the summer, what this time means to them and the importance of their education at a Swiss music academy.

Please introduce yourself briefly...

MF: Growing up on a farm in Lucerne, I wanted to learn the trumpet even as a little girl. Whether film music or the local village music served as a source of inspiration, I cannot answer with absolute certainty. I really appreciate the stylistic diversity that this instrument brings with it and live it out as best I can with my classical training.

JMC: I am a cellist, 29 years old, grew up in Zurich, and a year ago I completed my studies in Basel with Thomas Demenga with a Master's degree in Solo Performance.

AB: I'm only human...

At which Swiss music academy did you study?

MF: I completed my bachelor's degree with Laurent Tinguely at the Zurich University of the Arts, and moved to Klaus Schuhwerk at the Basel University of Music for the orchestral and soloist master's degree.

JMC: As a young student, I went to Zurich and Winterthur, then HMT, now ZHdK. I also graduated there with a Bachelor's degree in music. After a while abroad, I did my Master's degree in Pedagogy in Basel and, as I said, my Solo Performance Master's degree.

AB: I was able to enjoy my training at the Basel Music Academy with Ronald Brautigam and in Zurich at the ZHdK with Homero Francesch.

The summer and vacation season is now coming to an end. How did you spend these months?

MF: One highlight was certainly the time at the Davos Festival, an unparalleled source of inspiration with many outstanding musicians and a unique energy. One week was taken up with the move, otherwise there were many smaller engagements, so there was no longer a break to really switch off. After a week's break, I need about a week to build up again - I like to compare it to a top athlete, who doesn't normally run a marathon without training.

JMC: As I've had a job at the Bern Conservatory for a year now, my vacation was limited to a good six weeks. I was still very busy with teaching and concerts until mid-July and then took a little break from the end of July to mid-August in South Africa, where I studied for two years and still have many friends. My instrument accompanied me, so I was able to play concerts there and prepare for the coming concert season.

AB: There is no such thing as vacation time for a musician. Nevertheless, summer is a special time, as the concert business in the cities comes to a standstill and creative work is concentrated in various wonderful festivals.

What does vacation mean to you? Is it really a time to relax or rather a time to recover from the daily grind of studying?

MF: For me, these are days without organizational and office work as well as free time, which is almost more important for clearing my head, especially as I can't switch off these mental to-do lists at the touch of a button.

JMC: During my studies, I mostly spent the summer on courses or at festivals. There were at most a few days to take a break from the instrument. A few years ago, however, I started to plan a few days a year to put the instrument aside and do other things. For me, it's a time to gather my strength and thoughts for the coming season. Sometimes you come out of such phases with new perspectives on your own playing and the music, which you might not get from constantly being involved with the music. I find that incredibly refreshing.

AB: I think that vacations, i.e. a time to take a break and relax, are essential for any creative work. Nevertheless, I haven't felt this deep need for a vacation since my school days - our profession is simply too beautiful for that.

Is there also a moment when you are happy not to have to touch the instrument for a few days?

MF: Absolutely! You're mentally tired at the end of the season. A friend of mine is amused by the fact that my instruments end up in the cellar.

JMC: In any case. If it's well planned and I allow myself this "free time" out of deep conviction, then that's wonderful. It's just as wonderful to come back to the instrument. It's perhaps a bit like a relationship when you don't see each other for a few days. Afterwards, you look forward (I hope) to seeing the other person again and exchanging experiences.

AB: Sure, but after a week my fingers start to itch again.

You know many musicians from other countries. Do you also talk to them about the different university models?

MF: Excitingly, this exchange mainly takes place with other trumpeters.

JMC: To be honest, I've never experienced it like this before. I've probably read up on other universities, but the only time I've compared the university model was in South Africa, where I studied at a university and not at a college.

AB: Yes, of course, but in the end the whole thing stands or falls with the name and class of the main subject lecturers. The institution is secondary.

What do you notice, or to put it another way: how do you see the Swiss conservatoires in an international comparison?

MF: ... that the Bologna system is regulated uniformly internationally - not even throughout Switzerland.

JMC: I think we can generally count ourselves very lucky in Switzerland. The choice of places to study and the diversity are very impressive for a small country, and I also believe that Swiss music universities don't have to shy away from international comparison. I am very happy that I was able to do most of my studies here.

AB: This is very different, there are good and bad classes at most schools and only a few achieve an international reputation.

Do you see any points that you think need to be improved in this system?

MF: For example, the main subject lessons: at some schools, 60 minutes are scheduled in the three-year bachelor's degree, at others 90 minutes, while I know from a German university that the bachelor's degree there lasts four years and you have 120 minutes of lessons. In Austria, on the other hand, you even have a teaching degree in those four years. How can that be compatible?

JMC: Since we talked about vacations and summer months earlier, it might be worth considering whether the semester break should be adapted to the surrounding European countries. As a student, it can sometimes be difficult when a master's course takes place very late in the summer and the universities in Switzerland start up again at the same time in mid-September.

AB: The Bologna system is absolute nonsense for music, but the trend towards international standardization and digital structuring can hardly be stopped.

How do you feel about Swiss musical life in general?

MF: A paradise for freelance musicians! The demand and appreciation is largely there, and music schools offer optimal, legally regulated working conditions - including social benefits - which is not at all a given abroad.

JMC: Diverse, lively, inspiring - a very nice mix, and it has a bit of everything. And I don't just want to refer to classical music. I also enjoy listening to jazz and other styles. Switzerland has a lot to offer! Perhaps the larger institutions and concert organizers sometimes need to have a little more courage to innovate. But that's criticism at a very high level.

AB: The "cantonal spirit" creates certain barriers, but basically the world is still in order in Switzerland. Especially when you look at certain European countries.

MF: Parallel to the orchestral routine, I will be recording a CD this fall with the pianist Carl Wolf, where we will focus on the diversity of the instrument. At Christmas, I'll be playing with the Classic Festival Brass Ensemble at the KKL again, followed by various solo concerts. One of them will be composed especially for me by the Basel musician Olivier Truan (the founder and head of the successful klezmer band Kolsimcha). I hope there will still be time for one or two rehearsals...

JMC: I would like to develop my instrument further and also set up my own projects. Together with Alexander Boeschoten, I am currently working on a concert series in Zurich next year. The organization is new territory for me, but it's incredibly fun and also very good for my cello playing to take on other tasks alongside my daily practice.

AB: ... and I should practise some more.