<span class="vcard">Wendelin Bitzan</span>
Wendelin Bitzan

Scriabin Conference in Reading

Happy to be participating in the Scriabin @ 150 conference and celebration, taking place the following weekend at Queen Anne’s School, Caversham, Reading, UK. Alongside an illustrious line-up of scholars and musicians sharing their thoughts, interpretations, and approaches towards Scriabin’s music, I will contribute my bit on the relationship and latent intercommunities between Scriabin and his Muscovite contemporary Nikolai Medtner. Thank you, Kenneth Smith, Marina Frolova-Walker, and everybody else involved, for making this happen!

NB. I am super excited about this event for two particular reasons:
  • It is the prime candidate for the Sexiest Conference of the Year award.
  • It is probably the only conference that offers a free DIY Scriabin facemask for downloading, printing, and colouring (according to the composer’s synaesthetic preferences, I would suggest).

Lobbying for Berlin Musicians

Advocacy on behalf of Berlin musicians is on its way! I am looking forward to five meetings within the following six days, forming part of my endeavours as a board member of Deutscher Tonkünstlerverband Berlin. We will be in touch with representatives of Landesmusikrat Berlin, Fachgruppe Musik of ver.di, Bundesverband der Freien Musikschulen, DACH Musik Berlin, and the colleagues of Pro Musik Verband to discuss perspectives of freelance work and cultural policy. These activities are carried out on a voluntary basis as long as there is no possibility for public funding of associations and interest groups in the arts. So we need to keep up these efforts also in favour of the overall goal to professionalise the whole occupational field.

Lysenko’s Soviet Legacy?

Recently I was made aware of the claim that the Soviet national anthem, written by Aleksandr Vasilyevich Aleksandrov in 1943 and adopted as the anthem of the Russian Federation in 2000, might have been inspired by a piano work by the Ukrainian composer Mykola Vitaliyovych Lysenko, Fragment épique of 1876. Indeed, the hymn’s beginning sounds very similar to a passage near the ending of Lysenko’s composition. Is this creative appropriation, as one source argues, or even plagiarism (provided that Aleksandrov knew Lysenko’s work, which might be hard to substantiate)? Or is it just a random resemblance, with the melody and harmonic progression of both examples being derived from the common Romanesca schema, also known as major-minor parallelism? What do you think?

Fair Payment Workshop in Berlin

Glad to have been discussing perspectives for implementing fair payment in public funding of freelance music projects with a panel of various Berlin-based music associations and professionals today. As a representative of Deutscher Tonkünstlerverband Berlin, this is another important step in participating in opinion-making and state cultural policy, advocating for the interests and needs of our freelance members. The panel will continue next week with another session, to which I am looking forward.

Efforts for Fair Payment of Freelancers

During the last few weeks and months, a number of initiatives have been formed on different administrative and political levels, advocating for fee guidelines and minimum payments in the freelance music sector. Some of these take up previous ideas and groundwork, carried out by the Deutsche Orchestervereinigung, Tonkünstlerverband Baden-Württemberg and Bayern, the Sächsischer Musikrat, and others. However, in some respects, a superordinate perspective—which would enable to speak for as many freelancers as possible and to make plausible statements for the whole sector—is still missing. So far, there is no central entity that would bring together and concentrate the efforts and considerations of the following recent initiatives and working groups.

  • A meeting upon invitation of German federal minister of cultural affairs, Claudia Roth, and minister of labour, Hubertus Heil, on the topic »Improving Social Security of Artists« on 30 May 2022. Various protagonists and freelance organisations from the cultural industry were involved, and a report on the subjects of discussion has been published. At the moment it seems unclear whether and when the exchange will be continued, and if the initiative will result in the forming of a permanent committee.
  • A meeting upon invitation of the German conference of state ministers of culture for the newly founded commission »Fair Payment of Artists« on 22 June 2022. Representatives from the music industry and professional associations were discussing possibilities of public cultural funding. After the project had been previously announced in a press release of March 2022, there is no published documentation of the results of the meeting or the intended following procedures until now.
  • A proposal of the Section of Arts and Culture of trade union Ver.di for the calculation of base payments for freelancers, launched on 29 June 2022. The published article presents the general principles of the calculation model, but does not include further insights into the numbers and figures, the design of which appears to be subject to further debate.
  • A constitutive meeting of a working group »Fair Payment«, initiated from the executive committee of Deutscher Musikrat, the umbrella organisation of the German music sector, on 13 July 2022. The cast for the working group, consisting of representatives of unions and professional associations, was decided upon unilaterally. A coverage of the results and future perspectives is yet to be seen.
  • A general survey of freelance fees and earnings, launched on 15 July 2022 by the new initiative SO_LOS in collaboration with ver.di. This cross-industry data collection, named »Let’s Speak about Money!«, goes far beyond the cultural sector and is intended to provide an orientation guide for collective and individual bargaining of fees. A publication of the results of the survey is announced for October 2022.