We are thrilled to announce that applications are officially 

 for the Classeek Ambassador Programme, Season 2025-26. If you’re an instrumentalist aged 18-27 or a composer aged 18-30, this is your opportunity to take a significant step forward in your musical career.

A Prestigious Career Enhancement Opportunity

 is a renowned one-year initiative designed for the next generation of classical music talent. Tailored to young artists ready to make their mark on the international stage, the programme offers invaluable resources, mentorship, and exposure to help you navigate the complexities of a professional career in classical music.

This season, we are excited to offer two spaces each for instrumentalists and composers, providing fresh opportunities to ambitious artists seeking to elevate their careers. Whether you’re in the final stages of your studies or preparing to take the next step with an agent, this programme will equip you with the tools to succeed. Our focus is on empowering you to thrive in the business of classical music while perfecting your artistic craft.

Our programme is designed to accelerate your growth and provide access to the kind of industry connections that are critical for success. As a Classeek Ambassador, you will receive guidance and exposure that includes concert opportunities, professional coaching, interviews, photoshoots, and access to a global network of professionals. 

Join the ranks of our outstanding past winners, including violinists 

. These talented artists have already gone on to perform at major festivals, secure prestigious agent representation, and build thriving international careers. We are proud of their achievements and excited to welcome new artists to follow in their footsteps.

Are you ready to take your career to the next level? The Classeek Ambassador Programme is more than just an initiative – it’s a community designed to nurture, support, and elevate young classical musicians.

 to learn more about the application process, eligibility requirements, and the incredible opportunities that await you. We look forward to seeing your talent, passion, and dedication to classical music shine through your application.

Best of luck to all applicants! Be sure to 

 for updates as the deadline approaches – we can’t wait to see what you have in store!

Apply: Classeek Ambassador Programme 2025-26

Now Accepting Applications!

As we embark on another exciting chapter of the Classeek Ambassador Programme, we are thrilled to announce the full season schedule for the 2024-2025 season. Since its inception in 2017, the Ambassador Programme has been dedicated to discovering, nurturing, and supporting the next generation of classical musicians. Our commitment remains unwavering as we continue to provide unparalleled opportunities for young artists to elevate their careers on a global stage. This season promises to be particularly special, filled with fresh performances, innovative projects, and inspiring musical journeys.

This upcoming season’s cohort is a testament to the artistry that defines the future of classical music. Selected through ambassador nominations and an open application, these musicians represent the promise of emerging classical musicians. Each artist brings a unique voice and perspective to the programme, enhancing the richness and vibrancy of our musical community. We are excited to introduce these remarkable individuals and showcase their artistry throughout the upcoming season.

We are delighted to continue our collaboration with QEMC to bring together artists from our two programmes, curated and led by chamber coach, violist, and Classeek Ambassador 

The upcoming season promises a journey of musical exploration and excellence. Our carefully curated programme includes a series of concerts, masterclasses, and special events that will highlight the talents of our Ambassador Programme artists. We are particularly excited about the collaborations and unique projects that will unfold, offering audiences a diverse and enriching experience. From solo recitals to ensemble performances, each event is designed to celebrate the creativity and skill of our young musicians.

As we look forward to the new season, we extend our heartfelt gratitude to all our supporters, partners, and audiences. Your unwavering support enables us to continue our mission and make a meaningful impact in the classical music community. 

 to stay tuned for the latest updates – it's going to be a year filled with fresh performances, concert programmes, and musical discoveries. Here's to the journey ahead!

Announcing the Full Season Schedule for the 2024-2025 Classeek Ambassador Programme

Concert Lineup for Season 2024-25

 (Violin), Open Application instrumentalist winner

Greek playwright, Aristophanes, wrote: “I am Ekho, the Nymphe who repeats all she hears.” 

Similarly, thematic fragments are repeated by the solo violin in Mieczysław Weinberg’s 

. These “replicas” evolve as the work progresses, with subtle changes in rhythm, pitch, and articulation, that slowly increase tension. Born in Poland, the composer was forced to flee to Russia in 1939. His unique sense of form, harmony and colour, he said, was informed by “[his] first music teacher…life.” 

Performed by Czech violinist Kryštof Kohout, 

 opens a dynamic programme in which solo violin unites, pushes and echoes the traditions and influences of the past. 

Ekho’s beautiful singing voice seems to resonate in Heinrich Biber’s meditative work 

 — “The Guardian Angel”. Each repetition creates a new, ever-shifting impression, layering into a rich, narrative path. Part of his Mystery Sonatas, Biber engages deeply with Catholic mysticism and devotional meditation. As the oldest surviving solo violin work, he adheres to a strict counterpoint style, while expressing a fascination with the spiritual and religious realm. 

Ultimately, Ekho was cursed by goddess Hera for her endless, distracting chatter. Likewise, nineteenth century German composer, Telemann, was perceived to have written too much music, with quantity far outweighing quality. Yet his 

 demonstrate the intimate succinctness of a self-taught violinist. The first movement of the 

 is a gentle, singing Dolce, with Polish and Moravian folk elements that are never overshadowed by its technical complexity. 

Folk elements dominate Roxanna Panufnik’s 

 – an Eastern European circular dance. A British composer of Polish descent, Panufnik draws inspiration from Romanian melodies and intricate yet playful folk rhythms. This witty energy transforms in our next piece, with Weinberg’s raw and rustic, 

. Interweaving and clashing intervals become more estranged amongst strong rhythmic elements and a turbulent dynamic range, creating a harmonic language that, like the rest of the programme, pushes limits. 

Ekho was cursed with having to repeat the last words spoken to her. Perhaps this inspired the 

, a repeated progression always found in the bass voice. The first movement of his Bartók’s 

 features this continuous echo, amidst modernist harmonic language, complex rhythms and deep folk influences. Violinist Yehudi Menuhin, who commissioned the piece, at first believed it was “almost unplayable”. On exploring its intense emotional landscape, expressed originally in quarter-tones and chromatic slithers, he declared it was, in fact, “the most important composition for violin alone since Bach.”

Kryštof Kohout

Repliken

Passacaglia "The Guardian Angel" 

Hora Bessarabia

Dolce

Intervalle

Sonata for Solo Violin, Sz. 117

Violin Recital

Piano

Nour Ayadi

Cello

Gautier Capuçon

 (Piano), nominated by (and performing with) 

An expressive meditation on Rachmaninov, Debussy, and Liszt

For me, [the piano] is the place where I find myself, where I can meditate, be almost in a sort of trance…it allows me to discover who I am, my limits…

The cellist is anchored in the ground, around his instrument, there is a union of two bodies… we wrap around each other, it’s very sensual.

Pianist Nour Ayadi, and cellist Gautier Capuçon, share an intimate relationship with their instruments that surpasses physical touch. It is a relationship that nourishes their sense of identity and grounds them in a universe that spins on the axis of musical strings. 

Mysticism echoes through Sergei Rachmaninov’s 

Sonata in G minor for Cello and Piano, Op. 19

. Reaching psychological breaking point in 1897 after a catastrophic premiere of his Symphony No. 1, hypnotherapy lulled the composer into recovery, after which emerged this sonata. Featuring close intervals, passionate single-note repetitions and bell-like sonorities, the symphony is reminiscent of the spirit of the Russian Orthodox Church. 

Mysticism and mystery are not limited to the four-movement form. Claude Debussy’s 

 (From a sketchbook) is a brief, yet seductive piano work of just fifty-five measures. Its “very slow (without rigour)” rhythm has a persuasive quality, rich with thoughtful repetition and meaningful pauses. First publicly performed by Ravel in 1910, it remains one of Debussy’s least known and most neglected works.

 lets its anxiety and torment be known. As repeated themes turn incessantly around each other, we can almost feel the anguish regurgitating through the notes. With obsessive motifs and sharp staccatos, the work departs from the slow pondering of the previous work. Written in the summer of 1904, Debussy had just left his first wife for singer Emma Bardac. Its title, he said, “is not [a reference to] Commedia dell’arte, but the tragic expression of existence.”

After ceaseless probing, we start a gradual descent into an inferno through the Devil’s Interval (a tritone). 

Après une lecture du Dante (Fantasia quasi Sonata)

 by Franz Liszt describes the journey of the soul into hell, beginning with descending tritones and dissonant harmonies that brings us to D minor – a key infamously associated with death in Romantic music. The second theme of this work is an enchanted chorale in the major, representing the uplifting nature of Heaven. Perhaps it is here that we witness the meditation and intimacy that both Ayadi and Capuçon experience with their instruments.

Nour Ayadi and Gautier Capuçon

D'un cahier d'esquisses

Masques

Après une lecture du Dante - Fantasia quasi Sonata

Piano and Cello Recital

Soprano

Aida Pascu

 (Soprano), ICMA Young Artist 2024 award winner.

Opera is a dramatic extravaganza: love, betrayal and tragedy set against intense vibratos. Romanian soprano Aida Pascu reveals another side, “…this is a very lonely world… You go home, and you’re alone most of the time. Even if you’re married, you have a family. You’re alone. You’re on your own.” This stillness is captured in 

. A rare moment of lyrical calm and peace in an otherwise tumultuous and dark story, this aria presents a quiet moment of appreciation that individual introspection can offer. 

Individual introspection can also reveal vulnerabilities. In the aria 

, the eponymous character, Thaïs, implores for an affirmation of her beauty. Massenet effectively uses melodic repetition until we can feel Thaïs tugging on our arms, pleading for validation as she grapples with the idea that to be loved and valued in society, she must be beautiful.

, written towards the end of his life, provides a brief instrumental meditation before the stage gives way to a well-known operatic heavyweight: Puccini’s 

. This is the 19th century version of a meet-cute: the love interest, Rodolfo, opens the door of his apartment to Mimi, who wants to borrow a matchstick. She introduces herself singing, “Yes, they call me Mimi” and describes her peaceful life as a seamstress. It is a rare moment of simplicity in opera, as she shows a sincere humbleness in her appreciation of everyday beauty.

Replacing simplicity for existential longing, we continue with the first of George Enescu’s three melodies, 

. Enescu paints a graphic picture of an empty landscape through the use of wide intervals, while an ambiguous tonal landscape is supported by arpeggiated figures in the piano, reflecting inner turmoil. It is an inner turmoil that is quickly resolved in the second piece, 

, which expresses the intensity of a fervent love. The final melody, 

, reflects on mortality, with long sustained notes and descending sequences.

Halting the descent into existentialism is Albéniz’s 

. This is a vibrant piece that whistles the charming character of the Spanish city of Cádiz with its dance-like feel and playful melodies. The programme concludes with Fernando Obradors’ 

. Drawing on traditional Spanish folk songs, we see a cultural richness married with the lyrical expressiveness of our previous arias.

Aida Pascu & Gabriel Gîțan

“Tranquillo ei posa... Com'è bello" (Lucrezia Borgia)

"Dis-moi que je suis belle" (Thaïs)

Intermezzo Op. 118 No. 2

“Sì, mi chiamano Mimì" (La Bohème)

Trois mélodies Op. 4

Suite Española No. 1 Op. 47: IV. Cádiz

Canciones clásicas españolas

Vocal Recital

Flute

Rafael Adobas Bayog

“Printed kitsch, but skilfully made,” Erwin Schulhoff said of his own sonata for flute and piano. Written in 1927 for his friend, flutist René le Roy, Schulhoff’s dismissive critique of his work belies his early prominence as a leading Central European composer of the 20th century. Born in Prague in 1894, and living amid a turbulent political climate, Schulhoff continually experimented — one of the first to blend impressionistic and jazz influences in his compositions. His 

 is similarly inventive, with four movements embodying distinct stylistic voices. The work begins with a deceptively traditional sonata-allegro, featuring jazz-inspired rhythms and impressionistic textures. This is followed by a restless Scherzo that transitions into a haunting ‘Aria.’ The final Rondo is a contrapuntal maze that closes this impressive and skilfully crafted flute sonata. 

French composer André Jolivet, by contrast, considered his own works with greater reverence, describing them as “dedicated to restoring music’s original ancient sense, as the magical and incantatory expression of the religiosity of human communities.” This reverence is palpable in 

, a one-movement work based on the Greek myth of Linos, the lyre teacher to Orpheus and Heracles, who met his end at the hands of his own instrument. The tale is woven into the relentless lamentation of Jolivet’s piece, which unapologetically challenges the flutist with a series of abrupt technical gymnastics. 

It is not only myths and mysticism that infuse reverent intention in music. Manuel de Falla, regarded as one of the greatest Spanish composers of the early 20th century, was celebrated for his respect for native folk songs, which he seamlessly integrated into his works. His 

is one of his most famous compositions, featuring seven folk songs from various regions of Spain. The listener is taken on a journey from the north of Spain with the mournful 

 from Andalusia. Closing with a flamenco-inspired 

, these seven songs capture distinct characteristics of Spain. 

Spanish-Filipino flutist Rafael Adobas Bayog will perform these works with pianist Madoka Ueno. As Bayog says, “I enjoy looking into the eyes of the audience, seeing that they are sharing the journey with me…each moment is unique… and will never be repeated.”

Rafael Adobas Bayog, flute & Madoka Ueno, piano

Sonate pour flûte et piano

Chant de Linos

Siete canciones populares (arrangé pour flûte et piano)

Flute and Piano Recital

Violin

Arthur Decaris

The Highest Form of Criticism is Time: Virtuosic Innovation in Schubert’s Fantasia and Beethoven’s Sonata No. 1 

"Time is the only critic without ambition." 

Steinbeck’s observation peals with truth when reflecting on both Schubert’s 

. The former was dismissed by a critic who left before the end of its first performance in 1828, while the latter was described as “strange… with what we might call perversities” in a 1798 

 review. These reactions reveal that it is not the first critic but the last critic — time — that ultimately determines the true value of art, as they are now lauded for their intriguing innovation. 

The last of his compositions for violin and piano, Schubert’s 

 was written to showcase violinist Josef Slavík’s technical virtuosity and is equally demanding for the pianist. Described as “the most difficult music ever written for the piano” by pianist Nikolai Lugansky, it begins with shimmering hemidemisemiquavers on the instrument before the violin breaks the mist with a longing melody. The contrast between the interminable sung phrase of the violin and the bubbling piano exposes both instruments with shining clarity. 

While this fantasia can be divided into thematic sections, it is its unusual structure of contrasting, loosely-linked parts that propel us into the near-formless virtuosic fantasy that disturbed critics. The second section, a Hungarian-style 

 with pronounced accents, is followed by an Andantino that sings out the theme of Schubert’s 

The colourful modulations that we recognise as unmistakably 

 mark this work, just as Beethoven’s non-standard modulations to ‘distant’ keys mark his

. Dedicated to Antonio Salieri, this sonata challenges Classical-era conventions with its unexpected harmonic shifts criticised in its time as “strange.” The opening movement announces itself with a confident flourish, setting the stage for an expressive dialogue between violin and piano. The second movement introduces an effortless elegance through theme and variations, while the final Rondo breathes a spirited joviality, leaving a lasting impression with its infectious musical motif. 

Arthur Decaris will bring these works to life with his Italian 

 violin, which he describes as possessing “impressive depth [that allows him to] discover new colours… a richness of timbre that… opens the doors to [his] imagination.” This rich exploration will be shared with pianist Orlando Bass, who approaches classical repertoire with a modern perspective.

Arthur Decaris, violin & Orlando Bass, piano

Fantaisie en do majeur pour violon et piano, D. 934

Sonate pour violon N°1 en ré majeur, Op. 12 N°1

Violin and Piano Recital

Illia Ovcharenko

“It has become part of my aim to promote Ukrainian classical music…it is so beautiful and powerful, and it deserves to be heard.” 

Pianist Illia Ovcharenko has made it his mission to unveil the unheard notes of Ukrainian composers. Through carefully chosen pairings, he shines a light on the unifying threads between widely-recognised figures like Frédéric Chopin and Sergueï Prokofiev, and the lesser-known voices of Sergueï Bortkiewicz and Borys Lyatoshinsky. 

Though Bortkiewicz’s music is less familiar, it embodies a deep emotional sentiment rooted in Romantic ideals: “…as far as I am concerned, romanticism is not the bloodless intellectual commitment to a program, but the expression of my most profound mind and soul.” His 

 encapsulates this philosophy with sweeping melodies and rich harmonies, expressing vulnerability and lyricism in his distinct voice. 

 that a delicate intimacy is captured. With its sensitive rubato and dynamic shading, this work evokes the ethereal and reflective nature of the Roman goddess of the moon and hunting. The introspection of 

 is then spun into the playful, flirtatious 

. In A-B-A form, the spirited opening theme conjures the energy of “The Brunette”. The lyrical middle section provides contrast before we return to lively passagework and trills. 

Also in ternary form, Bortkiewicz’s final 

 presents an emotional theme of unrelenting intensity. This intensity is echoed in Chopin’s 

 chords, which then give way to a powerful 

 passage, before returning once more to the quiet ferocity of 

. Described by Schumann as, “…so overflowing with tenderness, boldness, love and contempt” our breaths are instantly stolen by the tension created through his melodic impetuosity. 

The fervour in the works of Bortkiewicz and Chopin resonates strongly in those of Lyatoshinsky and Prokofiev, both of whom were deeply shaped by the turmoil of war. Lyatoshinsky’s 

 reflect his hope for victory, drawing on Ukrainian folk motifs to create a dramatic, recurring thematic narrative. Prokofiev’s 

, the first of his “War Sonatas”, is similarly influenced by the Second World War. Its opening descending minor and major thirds create tonal instability that conveys the hammering pleas of despair. 

5 pieces 

Scherzo No. 2 en si bémol mineur, Op. 31

5 Préludes, Op. 44

Sonate pour piano No. 6 en la majeur, Op. 82

Piano Recital

Winner of our 2023-24 Open Application, Elise Bertrand was the first composer to join our Ambassador Programme. In this world premiere of Psalmodie Op. 20, she performed alongside Joë Christophe on clarinet and fellow Ambassador Programme artist Tomoki Park on piano.

E. Bertrand | Chamber music concert

Classeek Showroom performance, 11 June 2024

Composer

Elise Bertrand

Elise Bertrand talks about her work as a composer, including the inspiration for Psalmodie (a world premiere that was commissioned by Classeek for her concert with us). She also discusses her teachers, mentors, and inspiration as she continues to build a thriving career as both a composer and violinist.

Elise Bertrand Interview

with Benjamin Woodroffe

We are delighted to announce our collaboration with renowned pianist David Fray and the esteemed festival l'Offrande Musicale, presenting a series of captivating concerts that promise to be truly memorable. This partnership underscores our unwavering dedication to supporting emerging classical musicians and providing them with exceptional platforms to showcase their talent on a global scale.

Commencing this musical journey is a captivating concert scheduled for 

 at the vibrant Classeek showroom in Aubonne, Switzerland, with a simultaneous live stream on 

This event marks the beginning of an enchanting chamber music series, featuring a world premiere piece by our Open Application composer winner, 

. We take immense pride in collaborating with David Fray for this concert, where exceptional talents nurtured through our Ambassador Programme will share the stage. Joining them are the accomplished clarinettist Joë Christophe and pianist 

, creating a rich and engaging musical experience for viewers.

But that's not all – save the date for the next instalment of this musical journey, set to unfold at David Fray's prestigious festival, l'Offrande Musicale, on 

 at the iconic Abbaye de l'Escaladieu in Bonnemazon, France. The opportunity for these young artists to join David at his festival underscores Classeek's commitment to supporting young artists and providing them with opportunities for recognition on a global scale, and we're thrilled to be able to offer it to Elise, Joë, and Tomoki.

Tickets for their festival performance are available for purchase now at the following link: 

Don't miss this opportunity to immerse yourself in the beauty of classical music at its finest!

Collaboration with l'Offrande Musicale & David Fray

Classeek proudly announces the selection of emerging classical musicians chosen to join the Ambassador Programme for the upcoming 2024-2025 season. This marks another exciting chapter in our ongoing commitment to providing unparalleled opportunities for young classical musicians to elevate their careers on a global stage.

Established in 2017, the Ambassador Programme continues to further our mission of discovering, following, and supporting the next generation of classical musicians. This year's cohort boasts an eclectic mix of musicians, showcasing the artistry shaping the future of classical music. 

Each artist selected for the programme gains access to a tailored one-year curriculum designed to accelerate their career trajectory. From professional photoshoots and concert video materials to career coaching and performance opportunities, this holistic approach equips young musicians with the skills and support needed to take the next step in the highly competitive classical music industry.

Here are the artists for the 2024-2025 season

The upcoming season promises an exciting journey as these young artists, selected through a mix of ambassador nominations and open applications, bring their unique perspectives and artistry to the forefront. We are also grateful to all of our Classeek Ambassadors – renowned figures Emmanuel Pahud, Gautier Capuçon, Michel Bérof, and Renaud Capuçon, as well as influential industry players Markus Wyler and Sonia Simmenauer – for their continued support of Classeek.

Stay tuned as we prepare to unveil the full programme for the upcoming season – it's going to be a year filled with fresh performances, concert programmes, and musical discoveries. Here's to the journey ahead!

Meet the Artists of the Classeek Ambassador Programme 2024-2025

Full artist lineup

Meet the Winners of the Open Application

Season 2024-2025

To those who have been asking us for an update – the wait is over! We’re excited to bring you the shortlisted candidates from our Open Application. 

But first – thank you (once again) to everyone who applied this year. We were overwhelmed with the response that we received this year and the level of dedication that so many of you have to your craft. 

Following meticulous selection and scrutiny with our 

, these are the 13 finalists that have been chosen to move on to the next stage of the Open Application process. 

 - French harpist captivating audiences worldwide with soulful playing and technical mastery, earning accolades at prestigious competitions and pursuing a Master's degree in harp performance.

 - Israeli horn player with performances in prestigious venues and accolades, including a temporary contract as deputy solo horn player with the Düsseldorf Symphony Orchestra.

 - Latvian violinist and chamber musician with acclaim on national and international stages, known for a wide-ranging repertoire and community engagement through charity concerts.

 - Belarusian pianist with international recognition, diverse repertoire, and numerous prestigious performances and awards.

 - Italian cellist with virtuosic performances, first prizes at prestigious international competitions, and extensive concert activity across Italy and abroad.

 - Israeli pianist and prize-winner at the Arthur Rubinstein International Piano Master Competition, currently pursuing a Master of Music degree at the New England Conservatory in Boston.

 - Czech violinist acclaimed for performances at esteemed venues worldwide, winner of various competitions and awards, excelling as both a soloist and chamber musician.

 - Israeli pianist with international acclaim, notable awards, performances at renowned festivals, and collaborations with esteemed musicians.

 - Serbian cellist with international recognition through prize-winning performances, extensive collaborations, and a diverse repertoire spanning classical to contemporary works.

 - German violinist with multiple first prizes at international competitions, notable performances at esteemed venues, and collaborations with renowned orchestras.

 - American composer transforming diverse influences into captivating musical portraits, with compositions gracing prestigious venues and reflecting a commitment to youth creativity.

 - American composer and pianist blending diverse musical traditions to explore human emotion, acclaimed for intricate counterpoint and evocative harmonies.

 - Australian-Chinese composer and conductor with worldwide recognition, winning prestigious awards and captivating audiences with innovative compositions exploring diverse themes.

Each finalist brings a unique perspective and interesting career path to the table, and they surely all have a bright future ahead of them. We will be announcing the winners of the Open Application soon—one instrumentalist and one composer—who will join our nominated artists as part of the 2024-25 season of our Ambassador Programme. 

Until then, click on the finalists above to browse their ClasseekLink profiles and connect with them. Or then head over to our 

 to discover more about them. And, of course, stay tuned for the grand reveal!

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