It is always a precious moment when a composition sees the light of day for the first time. In the case of my «Hymn To Life», it is even more so because I not only composed the music, but also wrote the lyrics. It is a piece about the transcendence of nature, our lives as human beings on Earth and the presence of the world beyond. It represents an important part of my spirituality, which has accompanied me since a young age and has developed and deepened in recent years.

The subtitle of the piece is «Requiem aeternam». It thus refers to the centuries-old text of the Requiem, which has touched countless people over the course of time in compositions such as those by Wolfgang Amadeus Mozart, Giuseppe Verdi and many others. However, my «Hymn» is less a Requiem in the true sense of the word, but more a song about life and a hymn to the constant transformation of our existence. When new things are born, old things die. The hymn expresses that these old selves of ours may rest in peace. At the same time, it sings of the closeness of the great beyond which, depending on our spiritual background, we refer to as the afterlife, heaven, the spiritual world or other words.

The piece is written for choir, a mezzo-soprano solo, instruments and organ and lasts around 35 to 40 minutes. The premiere will take place as part of the Good Friday Vespers in the church St. Laurenzen, St. Gallen (Switzerland). I am very grateful to be able to collaborate with the excellent conductor Lukas Bolt, the wonderful mezzo-soprano Melanie Veser, the great instrumentalists Yuko Ishikawa, Iryna Gintova and Inez Ellmann and the vocal ensemble «con passione». The latter brings together experienced singers to form a versatile choir. Kathrin Bolt and Philipp Kamm will read texts along with the music.

Good Friday, April 3, 6:00 p.m., St. Laurenzen Church, St. Gallen.
Free admission. Collection.

Download flyer

On February 21, 2026, I was part of a concert in the Lithuanian city of Šiauliai. I followed the invitation of Vilhelmas Čepinskis, an exceptional violinist and conductor. He had contacted me a few years ago in connection with my A Tempo project. Since then, he and I have developed a meaningful exchange and a beautiful artistic friendship. When the engagement was organized about a year ago, he suggested that I should not only play solo repertoire, but also a piano concerto with the «Camerata Solaris» in Šiauliai, which he conducts. We agreed on the magnificent piano concerto in D minor by Wolfgang Amadeus Mozart.

Three days before the concert, I arrived in wintry and icy Lithuania. The welcome by Vilhelmas and his team was all the warmer. The following day, I gave a master class for students from the local music high school. I was impressed by the high musical quality I found in all the students. The two teachers obviously focused on a natural technique as well as a flexible touch - two qualities of piano playing that are extremely important to me in my work.

Rehearsals for the concert began the next day. Vilhelmas has been doing an amazing musical job in Šiauliai for years. This was obvious both in view of the wonderful orchestra as well as at the audience that attended the concert. The approximately 700 people were incredibly attentive, and I felt a hunger for live music that I don't often encounter. It was a unique atmosphere in this hall, which had been transformed from a Soviet-era movie theater into a concert hall.

It was one of the most exciting artistic experiences for me in recent years and I am filled with gratitude when I think back to my time in Šiauliai. 

«Spiritual virtuosity» is the title of two Piano Recitals which I played in Basel and St. Gallen in February 2026. The somewhat strange title refers to something that was most important to Franz Liszt both as a composer and a pianist. In 1847, after many years and countless voyages as a piano virtuoso, Liszt had had enough of the virtuoso circus. He no longer wanted to perform the same old bravura pieces over and over again to an audience looking for sensation. He longed for something more meaningful. In his compositions, he sought the «spiritual» aspect in music, the content, the transcendence. He was particularly inspired by the late works of Ludwig van Beethoven. My two concerts illustrated this development. The following works were on the program:

Sigismund Thalberg: Grande Fantaisie et Variations pour le Piano-Forte sur des motifs de l'Opéra Norma de Bellini Opus 12
Ludwig van Beethoven: Piano Sonata in E major Opus 109
Bernhard Ruchti: From the «Songs of The Wind»: No. 1 and 2
Franz Liszt: First Hungarian Rhapsody

For both concerts I had the privilege of welcoming a wonderful and most attentive audience. I look back on these concerts with great gratitude. I would particularly like to mention the introductory lecture I gave on the evening before the St. Gallen concert. It always gives me particular satisfaction to be able to share my enthusiasm for the background of music and the history of musical works with other people.

Photos from the St. Gallen concert: stgallerbild.ch

The work is part of the standard repertoire for organ: Franz Liszt's Prelude and Fugue on the name B-A-C-H. Liszt wrote the piece in 1855 for the famous Ladegast organ in Merseburg Cathedral. He revised the work around 20 years later, and this later version is played almost exclusively in concerts today.

The earlier version, however, is more experimental and in many respects like a raw, unpolished diamond. It shows Liszt's intensive involvement with the organ at this time: he discovered the instrument in a new way and developed a composition style that combined the qualities of a virtuoso piano technique with the orchestral dimensions of a large organ.

This fascinating original version is at the center of my Opening concert of this year's 2nd organ festival in St. Laurenzen. The piece sounds fantastic on the surround organ and I'm really looking forward to the concert!

The program opens with two pieces by Johann Sebastian Bach: his Fantasia and Fugue in C minor BWV537, which has great personal significance for me: it was my first "great Bach", which I studied as a young organ student against the wishes of my teacher at the time. It is followed by the wonderful chorale prelude on "An Wasserflüssen Babylon".

Also on the program are Robert Schumann's dance-like "Skizzen für Pedalflügel" Opus 58 and a new "Intermezzo" by me.

Sunday, September 7, 4:30 pm: Concert Introduction (duration approx. 30 minutes)
5:30 pm: Concert

A reservation is required for the concert: Eventfrog.

It is with profound gratitude that I look back on the Swiss tour in February and March 2025. Seven cities, seven halls, seven pianos, seven audiences - the first "A Tempo Tour" was a journey through Switzerland in so many ways. The concert series began in Aarau and led via Basel (Stadtcasino), Bern (Casino), Geneva (Les Salons), Chur (GKB Auditorium), St. Gallen (Tonhalle) to La Chaux-de-Fonds (Salle de Musique). The feature work of the concert, Ludwig van Beethoven's "Grosse Sonate für das Hammerklavier" Opus 106 sounded different every time. It proved that, indeed, the "A Tempo Project" works perfectly not only on recordings, but also on the concert stage. It was an incomparable experience for me to see and feel how attentive the audience was. It was like all the hearts and ears came together to enjoy the music. Alongside Beethoven's Sonata, I played Franz Liszt's "Saint François de Paule marchant sur les flots" and his transcription of "Isoldens Liebestod" as well as my own "Suite" in four movements that I composed in 2021. The feedback after the concerts made me realize how much people had been touched by the music - something to be grateful for indeed!

A big Thank You to everyone who participated in the crowdfunding and to the Ria & Arthur Dietschweiler Foundation, without whom the tour would not have been possible. I would also like to thank my project manager Diane Kolin for her great commitment!

The concerts already announced for 2026 and 2027 will be planned in the coming weeks and months, taking into account the experience gained in Switzerland.

Here is a nice article as a preview to the tour, in German: Vera Zatti: Eine klassische Auszeit.. Saiten Kulturmagazin, February 14, 2025.

The A Tempo project on YouTube.

After 9 recording projects and numerous releases, the time has come for the next step: Bernhard is going on tour with his A Tempo Project! Since 2018, Bernhard has been working on the A Tempo Project. He has done an immense amount of research. he has developed new interpretations and has perfected them on the piano. Starting in February 2025, four concert tours are planned until 2028: The first one in Switzerland and three more on an international level. It's a thrilling adventure that is about to start - but what would our lives be if we did not seek to realize our dreams?

The first tour in February/March 2025 offers 7 concerts in 7 Swiss cities. In 2026 it will be the USA and Canada, in 2027 Japan and finally Europe in 2028. All four tours will include a concert at the Tonhalle St. Gallen (Switzerland).

Ticket sales for the Swiss tour have already started. The main pieces of the concerts is one of the most important works when it comes to tempo in classical music: Ludwig van Beethoven's "Great Sonata for the Hammerklavier" in B flat major Opus 106. Bernhard's interpretation is inspired by a duration that the great virtuoso Franz Liszt indicated for the piece: "almost an hour". The Sonata will be accompanied by two compositions by Franz Liszt himself and the Suite in four movements by Bernhard Ruchti.

Further information and ticket sales

Download flyer

Crowdfunding: Join the A Tempo Tour!

Organizing and playing four international tours not only requires months of organization and meticulous planning. It also involves high costs. These costs will be covered by foundations as well as a public crowdfunding. A first foundation is already on board: the St. Gallen-based Ria & Arthur Dietschweiler Foundation.

Find out more following this link about the A Tempo Project, about Bernhard Ruchti, about the upcoming four concert tours - and become a supporter of this exciting project! As a supporter, you will receive an attractive and exclusive insight into the concert tours. You will receive free tickets to the concerts as well as CDs from the A Tempo project. And you will take part in special events for sponsors, where you will learn about the background of the A Tempo Project and new forms of interpretation. To cut it short: you become a part of a great adventure!

Please do not hesitate to contact Bernhard Ruchti directly if you have any further questions. The brochure is written in German, but Bernhard will be happy to provide you with any information in English.

Download crowdfunding brochure

Join the Crowdfunding online!

It is Wolfgang Amadeus Mozart's last and perhaps most beautiful piano concerto: the Concerto in B flat major K595. He completed it in January 1791. It seems that there was no particular occasion for the composition. Mozart was facing personal difficulties at the time, as his popularity in Vienna was declining and the public showed decreasing interest in his art.

Unlike earlier concertos, the B flat major concerto is more introvert. It shows a unique balance between melancholy and a relaxed cheerfulness. Its first movement contains harmonies of almost unearthly beauty. The second movement, a Larghetto, is one of those perfectly simple melodies that only Mozart could write. Finally, the theme of the last movement is a melody that Mozart was to use again a little later for his famous song "Komm lieber Mai".

I am delighted to be able to perform this piano concerto with an orchestra under the direction of Lukas Bolt in St. Laurenzen. The concert also includes Anton Bruckner's early Missa Solemnis in B flat major. Due to the matching key of the two works, the concert is entitled "B flat major".

Sunday, September 22, 2024, 7:00 pm, Church of St. Laurenzen, St. Gallen.

coro veloce
vocal ensemble con passione
Choir circle St. Gallen | Project singers
Orchestra archi lusingandi sinfonici
Lukas Bolt, Management

I am sure that Franz Liszt would have been delighted with the new Goll organ at St. Laurenzen (St. Gallen, Switzerland): on the one hand, it is as flexible in sound as the best concert grand piano. On the other hand, it has a symphonic power and countless colors like the individual instruments of an orchestra. In addition, the sound of this orgen literally comes from all sides and adds a new transparency and architectural dimension to the music.

Franz Liszt's magnificent Fantasy and Fugue on the chorale "Ad Nos, ad salutarem undam", written in1850, has fascinated me for many years. I love it as a masterpiece. It is also one of the core works of my A Tempo Project, as it is one of the most outstanding examples of a different tempo practice: several historical sources indicate its duration with 40-45 minutes - whereas today's performances are usually in a 25-28 minute range.

Following historical sources and reports on the Ad Nos Fantasy, my interpretation therefore needs more time, more space, more breathing - and that is exactly what the new Laurenzen organ can offer. I'm thrilled to be able to perform this unique work on September 1, 2024 as part of the opening concert of the 1st Laurenzen Autumn Organ Festival.

For those who want to learn more I will be delivering a half-hour introduction to the work and its history before the concert (in German).

Sunday, September 1, 2024
16:15: Introduction (in German)
17:30: Concert
For the concert a Seat reservation is obligatory: https://eventfrog.ch/ruchtisg2

Information about the festival: laurenzen.ch

A special moment in my career as a composer is approaching: the premiere of my new work Lachrimae for mezzo-soprano, violin and organ. The title is inspired by the famous Lachrimae (“Tears”) by John Dowland from the late 16th century – but in fact it is a kind of modern Stabat Mater Dolorosa– a contemporary lament that expresses different characters of tears. I wrote the piece especially for the new Surround organ at St. Laurenzen church.

The lyrics for my piece are based on poems by the St. Gallen poet Meie Lutz, which she published some time ago and whose profoundness and lightness at the same time touch me deeply.

It is a pleasure to have Melanie Veser, a singer with great expression and a wonderful voice, and Elisabeth Kohler, a violinist with an outstandingly clear and at the same time heartfelt sound, for the world premiere.

Kathrin Bolt will read texts from the Bible.

Friday, March 29, 2024, 6:00 pm, Church of St. Laurenzen, St. Gallen.

Preview by stgallen24.ch

It is perhaps the most transcendent and visionary work I know: Franz Liszt’s magnificent (and only) Piano Ponata in B minor. Volume 9 of the A Tempo Project is dedicated to it. The more I discovered the countless details of the compositions and developed my own rendition, the more I was stunned by the profundity and freedom of Liszt’s masterpiece.

At first, Liszt’s Sonata doesn’t appear to be easy to perceive. As a result, it is not that often performed in public. But once we start listening to the incredible richness of sound and the sheer beauty of its harmonies, there is literally no end to the discoveries.

In my introduction videos, I talk about the subject of transcendence and its mysterious connection to tempo. It is therefore no coincidence that the final recording of this cycle of the A Tempo Project ends with Liszt’s Sonata.

The recording venue is the newly renovated hall of the Stadtcasino Basel, which has wonderful acoustics. The instrument I used is a Bösendorfer VC280, which adds so much warmth and color to Liszt’s music.

I am proud of this recording and happy to be able to share it!