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The article presents information about the achievements of Swiss composer Klaus Huber, who was awarded the Siemens Music Prize in February 2009. Descriptions are given of Huber's compositional philosophy, his compositions' intentional slowness, and his history as a music instructor at European universities. Further comments are made concerning Huber's compositions "Inwendig voller Figur," "Metanoia," and "Tenebrae."

Together with the hitherto unpublished letter of 6 September 1831, Tomášek sent the score of his Requiem op. 70 to the Zurich publisher, music writer and composer Hans Georg Nageli. The author of the letter expressed his firm belief that due to the "prosperity of music practice in Switzerland" and the influence of the reputable Nägeli, it should not be a problem to find opportunity and funding to put on the enclosed work in that country. With gratitude, Tomášek puts Nägeli in mind of the fact that he had published some of his piano works between 1803 and 1805, calling him "the one to determine the spirit in the music world". He briefly mentions several of his earlier compositions and, with a great deal of sarcasm, criticizes the contemporary "swamp of bad taste", in which the audience has recently fallen, misguided by the "mendacious" Rossini and his followers. Tomášek draws Nägeli's attention to an enclosed article of his called "On Criticism in Relation to Music", in which he appealed to "all respectable priests of art" to cultivate sensible criticism. He encourages Nägeli not to let his "whip" (meaning his feared sharp pen) "rest until things have changed". [ABSTRACT FROM AUTHOR]

The article discusses the current musical theater scene in Switzerland, providing brief biographies of several people active in the scene, including Berlin composer Daniel Ott, Désirée Meiser, a producer and art director at the Gare du Nord, in Basel, Switzerland, and Leo Dick, a composer in Bern, Switzerland.