It is in the nature of the new that it more or less eludes established categories, although these are a good starting point if one wishes to approach something new. Therefore it makes sense to consider the works of the Swiss composer William Blank, from a chamber music perspective.Although there is no generally binding definition of chamber music, certain constants can be identified that are valid from the Renaissance to the present day: intimacy, privacy, lively interaction between solistically employed instruments, condensed accordance etc.

Chamber music has long since ceased to be the exclusive preserve of the bourgeois parlour, emerging as the most important genre of experimentation in contemporary classical music. It is fair to say that it is at the centre of William Blank’s biography, who began his career as a percussionist and, in addition to his orchestral activities, played in various original formations. In his decades of teaching at the Lausanne University of Music, chamber music is virtually the centrepiece.

Founded in 1993, the Collegium Novum Zurich has become an integral part of the Swiss cultural scene. Throughout the decades, driven by a curiosity about contemporary music, the ensemble has never lost its importance and communicates contemporary music to a broad audience. The main focus of the 25-member ensemble has always been on creation, musical exchange and collaboration with composers.

The organisation “pre-art” was founded in 2000, aiming to promote sustainable cultural exchange for young people in the countries of South-Eastern Europe. To this day, this also includes proactive help (purchase of sheet music, instrument overhauls and purchases, infrastructure, etc.), made possible thanks to the “pre-art aid” support programme, which is based on private contributions and donations.