New member of the committee: Gaudenz Lügstenmann

Gaudenz Lügstenmann at the Olten delegates' meeting in June 2025

Gaudenz, what prompted you to apply for this position on the ASEM committee?

I was very interested to be able to take part in the discussions and design work at national level. I'm really looking forward to it! I'm looking forward to seeing how I can use my years of experience from compulsory school and music school. I was also attracted by the possibility of using my knowledge of French.

More and more music schools are collaborating with compulsory schools. As someone who knows both institutions very well, what do you think are the advantages of this kind of collaboration?

To put it succinctly: music schools have specific specialist skills, and compulsory schools have a certain know-how in the organization of learning. Cooperation can help develop musical training. This is important, because music offers the opportunity to work on urgent social tasks. It plays a considerable role in people's individual and social development, and can bring people together.

What led you to make the leap from teacher training college to music school?

After ten years as a primary school teacher and ten years at the HEP, I was looking for something new. It just so happened that the Zurich University of the Arts was offering a substitute teacher training course for school music teachers. It was there that I noticed how much I liked this specific combination of learning and music. It fascinated me. Shortly afterwards, again by chance, the position of director of the music school in my home town came up for tender.

Have you seen many differences in your daily work life?

The move from the classroom to the HEP was a more radical change than that to the music school. At HEP, as now, it was a case of working with adults. However, there's one point that keeps me very busy, and that's the big question of whether I'm capable of running a music school. This question strongly influenced me when I took up my post. And, over the last ten years, I've noticed that many musicians feel the same way:  do I know the piece? have I mastered the instrument sufficiently? am I capable of this?

The "impostor syndrome", where people doubt their abilities despite clearly possessing the necessary qualifications, seems to be a common phenomenon.

Absolutely - what do you think you're capable of? It's a question that occupies me on a regular basis. After ten years at the music school, I know the decision was right, but at the beginning there was a lot of uncertainty. I feel the same way about my work on the committee - there's a certain amount of uncertainty there too. Will I fit in? Will my ideas be useful to the cause? But if you don't try, you never know. That's why I'm so grateful for this opportunity.

Do you play one or more instruments yourself?

I play the trumpet and take part in the music camp every year. For the past three years, I've also been playing the cello - which interested me, because I'd never tried a string instrument before. I also play the piano a little. I know roughly where the keys are, but not much more.

Do you repeat a lot?

No (laughs). Unfortunately not. I try to pick up an instrument once a day. But I can't always do it.

One last question: do you have a favorite piece of music?
Right now, I'd say Jon Batiste. I just heard him in Bern. He explores a lot of different avenues, playing jazz and classical and everything in between. And he has a great rapport with the audience. He said he made a lot of music with his family at home, and the way he directed the audience created such a friendly atmosphere in the concert hall that it was like being at home in your living room. It was truly moving.