$Unique_ID{COW03556} $Pretitle{442} $Title{Switzerland Music in Switzerland} $Subtitle{} $Author{Rene Levy} $Affiliation{Arts Coucil of Switzerland} $Subject{music swiss works composers switzerland musicians composer own international major} $Date{1986} $Log{Lake View*0355601.scf } Country: Switzerland Book: The Social Structure of Switzerland Outline of a Society Author: Rene Levy Affiliation: Arts Coucil of Switzerland Date: 1986 Music in Switzerland [See Lake View: Courtesy Embassy of Switzerland, Washington DC] "Unity in diversity" - this phrase is an apt epithet for Switzerland's intellectual and artistic activities. In general, however, it is easier to see the diversity than to recognize the unity, since art in all its forms expresses itself in nuances and reflects a broad spectrum of intellectual and spiritual attitudes. It has often been said that there is really no such thing as Swiss music per se, only music in Switzerland and Swiss musicians. There is some validity to this view. Each section of the country - German, French and Italian speaking - naturally has close cultural ties to the broader linguistic region of which it is a part and has shared its artistic development in the course of the centuries. Switzerland as a whole has played a very modest role in the history of music. At the same time it should be pointed out that such religious centers as the monasteries at Einsiedeln and St. Gallen were quite important in the development of the Gregorian chant. The Reformation produced a style, characterized by splendid chorales, which is still echoed in the works of many Swiss composers. There are probably few countries in which so broad a range of musical conceptions and influences have met and intermingled as is the case in Switzerland. Until the end of the 19th century German-Swiss musicians set the tons for the entire nation. It was only with the advent of Ernest Ansermet, who founded the Orchestre de la Suisse Romande in 1915, that the French-speaking part of the country became conscious of its own latin personality, which at first expressed itself through performances of the works of Debussy. At the same time Ansermet was greatly concerned with introducing the music of such composers as Paul Hindemith and Alban Berg to the conservative musical circles of German-speaking Switzerland. Today the situation is somewhat reversed. Ernest Ansermet, whose name is inextricably linked with the propagation of contemporary music, is now more concerned with limiting a trend which, in his view, is leading to excesses. He has by and large rejected experiments with atonal music and bases his efforts on expressive forms which he regards as part of music's natural development, based upon the works of such composers as Bela Bartok, Paul Hindemith, Arthur Honegger, Frank Martin and Igor Stravinsky (with the exception of his latest works). Moreover, today it is the major German-Swiss cities of Basel and Zurich which are most concerned with the nurturing of contemporary and experimental music in Switzerland. Paul Sacher, with the Basler Chamber Orchestra and the Collegium Musicum Zurich, has made great contributions along these lines during the past 20 years. The youthful Rato Tschupp, with his Camerata Zurich, has followed in Sacher`s footsteps with increasing decisiveness and genuine engagement, and has presented the world premieres of many works by modern Swiss and non-Swiss composers. Other ensembles which should be named in this context are the Beromunster Radio Orchestra (Erich Schmid, first conductor) and the Zurich Tonhalle Orchestra (for many years under Hans Rosbaud; now led by Rudolf Kempe). The Lausanne Chamber Orchestra and the Winterthur Philharmonic, both under the baton of Victor Desarzens should also be mentioned. The Zurich Opera House has also contributed to the history of opera by presenting a number of important world premieres, including Hindemith's "Mathis der Maler" (1938), Alban Berg's "Lulu" (1937), the first performance of the second version of Hindemith's "Cardillac" (1952) and the first staged presentation of Schonberg's "Moses and Aaron" (1957). The experimental movement in contemporary music, as typified by Pierre Boulez, Karlheinz Stockhausen or Luigi Nono, has thus far gained only a small audience in Switzerland - but an enthusiastic one. Among the broad concertgoing public, and among Swiss musicians, there is still a good deal of resistance to the more radical works. Here and there, however, groups have sprung up which are dedicated to propagating this music. In Geneva there are the concerts presented by Queen Marie-Jose in her own home, and the international composers' competition which she initiated, as well as the activities of the young composer Jacques Guyonnet. Also worthy of mention is the Centre de premieres auditions (headed by Mlle E.I. Clerc), which has thus far presented well over 100 concerts and has always devoted ample attention to works by composers from the non-French world. The Basel Music Academy invited Pierre Boulez, Karlheinz Stockhausen and Henri Pousseur, as respected representatives of avant-garde music, to give a series of special courses. And the Geneva Radio Studio has become a virtual study center for electronic music. The Concert Scene: Choruses, Orchestras and Conductors Our brief survey can naturally offer only a fragmentary view of the Swiss concert scene. A small country in the heart of Europe, Switzerland attracts the leading musicians of our time to its concert halls. In the larger cities the concert season extends over virtually the entire year; the number and variety of performances offered is in fact so great that it may almost be regarded as excessive, despite a steadily growing concert-going public which includes all segments of the population. Switzerland also has its international festivals, among which those of Lucerne, Zurich and Montreux enjoy worldwide repute. Mention should also be made of choral singing, which has always played an important educative role in Switzerland. Particularly for the German-Swiss, choral singing has become almost second nature. While it is less common among the more individualistic French-Swiss, the major choral groups of Canton Vaud, to take but one example, can hold their own with the best that has been produced by the German-speaking part of the country. Choral singing is particularly dear to Swiss hearts and has been a source of inspiration for some contemporary Swiss music (one major example is Honegger's oratorio "King David"). Finally, the Chorus of Italian-Swiss Radio, under Edwin Lohner, has gained international recognition and recently received a major award for one of its recordings. Equally worthy of mention are the orchestras, conductors and soloists who do honor to the country's musical tradition, as well as the Swiss music academies and opera houses (of which the one in Geneva was recently reactivated). We shall confine ourselves here to enumerating the major Swiss symphony orchestras: The Orchestre de la Suisee Romande, under Ernest Ansermet, has gained international acclaim through its many recordings and concert tours (several of its recordings have been awarded prizes). Zurich's Tonhalle Orchestra, under the baton of Rudolf Kempe, offers a particularly wide range of repertoire, including experimental works and programs for youth. Other important ensembles are the symphony orchestras of Basel (under Wolfgang Sawallisch and Berne (under Paul Klecki until 1968), as well as the Winterthur Philharmonic Orchestra (Winterthur is a small city, important for its industry, and thanks to the efforts of a few patrons of the arts it has gained an artistic importance far out of proportion to its size). A few Swiss chamber ensembles, such as the Festival Strings Lucerne, the Collegium Musicum Zurich and the Zurich Chamber Orchestra, have undertaken international concert tours, as has Basel's Schola Cantorum Basiliensis, conducted by August Wenzinger, which specializes in antique music. Switzerland has no national music conservatory. Each major city has its own academies. The Conservatoire of Geneva occupies a prominent position thanks to the international music competitions held there, which attract the elite of the world's young musicians each year. The Schola Cantorum Basiliensis, part of the Basel Music Academy, attracts young musicians from throughout the world who wish to delve into the problems of antique music. Finally, mention should also be made of the steadily increasing activities of the Jeunesses Musicales de Suisse (Swiss Youth Federation for Music), which extend to virtually all parts of the country. They feature concerts, courses, lectures, summer camps, etc. A Haven for Great Musicians Switzerland has always been proud of the fact that so many great artists have chosen to live within its confines. Among those outstanding musical figures who have in the recent past lived around the Lake of Geneva are Ignaz Paderewski, Igor Stravinsky, Wilhelm Furtwangler, Alfred Cortot, Dinu Lipatti, Clara Haskil, Andres Segovia and Igor Markewitch. Among those musicians still resident here today are Joseph Szigeti, Pierre Fournier, Paul Klecki and Nikita Magaloff. The latter two have even become Swiss citizens, as has Wilhelm Backhaus, who lives in the Italian-speaking Ticino. Ferenc Fricsay lived on Lower Lake Constance (the "Untersee"), and Paul Hindemith, for many years a resident of the Valais, was Professor at the University of Zurich at the time of his death. The Problem of "Swiss Music" In view of the many tendencies and movements to be found within the narrow confines of Switzerland, has the country brought forth composers who might be said to have intrinsically Swiss characteristics or who could, theoretically at least, constitute a "Swiss school" of music? There is no doubt that diversity is stronger than unity in Swiss music. But is that not true of all other national schools today, when there is an almost universal trend to internationalization? In reality there is something like a Swiss national school of composition, one that is not insignificant, in which a common concept may be found and which is determined by a certain intellectual climate which, while difficult to describe, may definitely be categorized as Swiss. Arthur Honegger, certainly the most important representative of contemporary Swiss composition, provides an ideal case of a composer who lived in this Swiss "climate" and worked from it as a base. His German-Swiss descent and French culture were perfectly synthesized. In the works of Frank Martin, too, there is a similar amalgam of Germanic and Latin roots, although with reversed emphasis from that of Honegger and consequently yielding very different results. A look at the members of this "national Swiss school" shows that nearly all these composers have passed their fiftieth, if not their sixtieth, birthday. The best opportunity of getting to know this middle-aged to elderly class of Swiss music is provided by the annual meetings of the Association of Swiss Musicians (Schweizerischer Tonkunstlerverein). Founded in 1900, this group's conventions not only offer an opportunity to hear a number of selected works, but also give the musicians themselves an opportunity for personal contacts. The course of these annual meetings over the years has shown a steadily increasing amalgamation of the influences of German neo-Romanticism and French Impressionism, which have colored the output of German-Swiss and French-Swiss composers respectively. Othmar Schoeck, many of whose works are directly related to the aesthetics of Franz Schubert and Hugo Wolf, was in a good portion of his work one of the last representatives of the typically Romantic school, while others of his creations, including many of his Lieder, his opera "Penthesilea" and the dramatic cantata "Vom Fischer un syner Fru" ("The Fisherman and His Wife"), show him to have also been a thoroughly modern composer. Jean Binet, who was a bit younger than Schoeck and died shortly after him, was very closely tied to French Impressionism. What common characteristics may be found among the generation of Swiss composers who are now 50 and 60 years of age? On the negative side, we no longer find any folkloristic elements (except perhaps by chance) which might lend to concert music a distinctly Swiss flavour. Our country's folklore no longer has any place in the music of our time. We must go back to Emile Jaques-Dalcroze, Gustave Doret and even Hans Georg Nageli to find distinct folklore elements (which, however, are not necessarily historically authentic). In my opinion it is rather a certain attitude of mind which characterizes Swiss music, an attitude which might briefly be formulated as follows: The majority of works of the generation to which we are referring reveal an agitated, even anxiety-filled inner world. At least the most significant works are permeated by this mood. This music is often built around major religious themes, and in such works, although some episodes may be joyous and serene, the basic tone is distinctly dark. Swiss composers frequently lack spontaneity, but their music is of lasting impact and undeniable sincerity. Among those who belong in this category, it seems to me, are Willy Burkhard (died 1955), Robert Oboussier (d.1957), Conrad Beck, Walther Geiser, Albert Moeschinger, Henri Gagnebin, Roger Vuataz and Frank Martin. A unique position is occupied by Ernest Bloch (d.1959). This Swiss composer gained a great measure of worldwide fame; in his own land, however, he was among the forgotten. His aesthetic independence makes it difficult to categorize him. He might be regarded as a representative of late or neo-Romantic Expressionism, in whose music elements of Jewish tradition were alloyed. More needs to be said about Frank Martin, whose work has awakened international interest. It was only at the age of 50, after some 30 years of searching and experimentation, that Martin found his own form of expression and thus attracted worldwide attention. One of the major steps in his development was the encounter which Arnold Schonberg's 12-tone music, to which Martin owes a deepening and expansion of his own creative abilities - although his artistic sensibilities made it impossible for him to follow along the path of atonality. The new freedom offered to him by dodecaphonic music led him to work with perceptible tonal relationships. Frank Martin's present style, the fruit of such long and earnest experimentation, owes an equal amount to post-Wagner chromatics and Debussy's Impressionism. This composer has succeeded in finding a synthesis of the two, a synthesis which is in its way also distinctly Swiss... Frank Martin has exercised a profound influence on other composers, such as Peter Mieg (born 1906) and Michel Wible (b.1923). Others, among them Constantin Regamey (b.1907), have also turned to the serial technique, although at some remove from the aesthetics of Schonberg. Let us also name at this point Robert Blum (b.1900), certainly one of our country's most important composers. He is a profound craftsman (in the good old sense of the term), and willing to turn his hand to modern tasks (he is the best Swiss composer of film music). His powerful religious works (such as his oratorio "The Archangel Michael") and highly original secular compositions (e.g., his 4th Symphony) are major contributions to contemporary Swiss music. The development of Andre-Francois Marescotti (b.1902) is also of some interest. He began as a fresh, cheerful and lighthearted composer, whose work showed influences of Emanuel Chabrier and Maurice Ravel. But after passing his 50th birthday he became passionately interested in the problems of serial structure. His confrontation with this aspect of music yielded some works of a completely new kind which, while not strictly adhering to any particular system, remain expressions of Marescotti's lively musical personality. Another typically Latin composer, Pierre Wissmer (b.1915) is completely oriented toward Paris, where he has chosen to live and in whose cultural life he shares. Also belonging to the category of Swiss composers in their fifties is, of course, Heinrich Sutermeister. He constitutes a special case, in that his international repute rests primarily on his musical dramas. His talent for this form of expression may help to explain the dynamic and uncomplicated nature of his music. While Heinrich Sutermeister was relatively well known decades ago and in recent years has been rather less in the limelight, a composer only four years his junior has lately come into his own: Hugo Pfister (b.1914). He too may be regarded as a typically Swiss composer, in that Alemannic and Latin elements, significance and consciousness of form, "unity in diversity", may all be encountered in his work. Like Sutermeister, Rolf Liebermann (b.1910) is also best known for his music dramas. His position is unusual. Oriented largely toward modern techniques, his operas are nevertheless subject to traditional laws, thus uniting in themselves modernity and timelessness. His works are heard more often abroad than in his homeland, and his activities have for a long time likewise been concentrated abroad. Liebermann is Director of the Hamburg State Opera, and also plays an important part in directing the Third Program which is produced jointly for radio and TV by the North German Radio, Hamburg, and Radio Free Berlin. Among the Swiss composers in their forties, we should name two who are representative of their respective linguistic regions: Armin Schibler, whose rather tense and subjective music is of decidedly Alemannic (i.e., German-Swiss) character, and Julien-Francois Zbinden, whose works are decidedly more free, objective and cheerful - and thus reflective of the Latin temperament of French-speaking Switzerland. Vladimir Vogel (b.1906), originally of Russian nationality and only recently become a Swiss citizen, also deserves mention here, not only for his own compositions, but also because of his influence as a teacher of many young composers, who have learned from him the craftsmanship and techniques of 12-tone music. Switzerland's younger composers are nearly all more or less strongly influenced by dodecaphonic music, particularly its serial forms modelled on the works of Anton von Webern. This is particularly true of Jacques Wildberger (b. 1922), a student of Vladimir Vogel, and Klaus Huber and Rudolf Kelterborn. Klaus Huber (b.1924) has shown in his work that he has mastered the technique of executing a phrase with expressive logic and great tonal freedom, achieving delicate effects with shimmering tonal colors. Rudolf Kelterborn (b.1931) has evolved a tonal language characterized by vitality, power and musicality. This is true of all his works with remarkable consistency, from his chamber pieces to his orchestral compositions and his two operas ("The Saving of Thebes" and "Emperor Jovian"), both of which may be regarded as highly notable, personally toned contributions to contemporary music drama. Many other names might of course also be mentioned here - for example, that of Franz Tischhauser (b.1921), whose works are typified by a frequently unruly humor, which, however, is always mitigated by a fine sense of form. Swiss music today offers a diversified, many-faceted scene. A young generation of composers has relieved the old, a generation no longer willing to follow docilely in the footsteps of its predecessors. Instead it has set out to discover for itself the new territory into which youthful composers of other lands have long since penetrated. To these young musicians, it seems as if Swiss music has for too long been caught in the web of its own individual character and bound by the laws of tradition. A fresh wind has already blown away many of the cobwebs; what is valid and good in the older music will not be endangered by it. The center of creative musical activity in Switzerland has shifted back, to some extent, to the German-speaking part of the country. Our contemporary music is represented today at international events by composers such as Klaus Huber, while the names of newcomers like Giuseppe Englert (b.1927), Hans Ulrich Lehmann (b.1937), Jurg Tyttenbach (b.1935) and Heinz Holliger (b.1939) are being heard with increasing frequency. Representative of the French-speaking area today is Jacques Guyonnet (b.1933). In conclusion it should be noted that the above listing of names, by necessity far from complete, is meant to provide basic information and in no way constitutes a statement of evaluation.