 (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

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

Clarissa Bevilacqua

Clarissa Bevilacqua talks about her involvement in the Classique Ambassador Programme,  her experiences studying in various places such as Italy, Salzburg, and Berlin, and her vision for Dynamic Fest, a festival she founded in Salzburg, Austria.

Clarissa Bevilacqua Interview

with Benjamin Woodroffe

Dmitry Smirnov

Nominated by Sonia Simmenauer, violinist Dmitry Smirnov joined us in concert in November 2023 as part of the Ambassador Programme.

Dmitry Smirnov | Eugène Ysaÿe – Sonate à George Enescu (From op. 27 "Six sonata for violin")

Sonate à George Enescu (From op. 27 "Six sonata for violin")

Classeek Showroom performance, 2 November 2023

Dmitry Smirnov | Improvisation inspired by Angelo Poliziano (Lyra da Bracchio)

Nr. 11 Berceuse Nr. 2 "Sonntag, den 19. Juli 1910" (Hommage an Jeney)

Nr. 18 Träumend hing die Blume (Hommage an Schumann)

Dmitry Smirnov | György Kurtág – Kafka Fragmente, Op. 24 for soprano and violin

Kafka Fragments, Op. 24 for soprano and violin (Selected songs)

Dmitry Smirnov | Netty Simons – Circle of Attitudes for violin solo and dancer

Circle of Attitudes

Dmitry Smirnov | Eugène Ysaÿe – ‌Sonate à Joseph Szigeti "Six sonata for violin solo"

Sonate à Joseph Szigeti "Six sonata for violin solo"

In partnership with the Conservatoire de Lausanne, Classeek is proud to present this pre-concert series, performed by students of the Conservatoire.

Aïna Rodel | Max Bruch – Violin Concerto in G minor | Op 26

Violin Concerto in G minor | Op 26

In partnership with the Conservatoire de Lausanne

Alexey Stychkin Takes the Stage in Geneva’s Bâtiment des Forces Motrices with Camerata Venia

Composer

Elise Bertrand

We are proud to join forces with the esteemed pianist David Fray for this concert. Together, we are excited to present an exceptional programme, including the works of our Open Application composer winner, Elise Bertrand. 

Joining us will be David Fray, alongside the composer and violinist herself Elise Bertrand, as well as clarinettist Joë Christophe and pianist Tomoki Park. This collaboration represents our commitment to supporting emerging talents and celebrating the richness of classical music.

Elise Bertrand, violin | Joë Christophe, clarinet | Tomoki Park, piano | with special guest David Fray

Psalmodie, Op. 20 (world premiere)

Chamber Recital

Clarissa Bevilacqua, violin (Italy-USA) / Open Application

Solitude is a philosophical musing that many have pondered on. For violinist Clarissa Bevilacqua, it has marked her career. At nine years old, alone before a crowd of 10,000, she enchanted the audience with her inspired musicality. At seventeen, presenting in front of the Concours Musical International de Montréal jury, Bevilacqua was the only candidate who chose to play solo - without accompaniment - during the first round. And last year, Bevilacqua released her debut album, Dream Catcher, featuring Augusta Read Thomas’ complete works for solo violin. 

The individual voice of a violin and violinist is explored in this programme that spans three centuries. Meticulously chosen by Bevilacqua, each piece demonstrates the development of violin expression throughout various musical periods, the common theme being each composer’s distinctive contribution to the solo violin repertoire. 

Dream Catcher opens the concert in an ethereal, foggy daze. As this bewitching story unfurls, we may be left wanting to remain in an abstract haze. This is exactly when the second work, Sidestep Reel, composed by Wynton Marsalis, steps in. We are thrust into a contemporary work that slides into the world of folk and jazz with its Afro-Celtic dance style.

These modern opening acts are then tempered by the tradition of Viennese art music. Paul Hindemith and Fritz Kreisler’s characteristic flavours and idiomatic writing are showcased with virtuosic flair, proving that a similar ‘nurture’ can create extremely distinct but equally compelling styles. 

The last set of compositions juxtapose past and present. Bach’s Violin Partita No.3 is one of six for solo violin and, almost exactly two hundred years later, inspired Ysaÿe’s own. Beginning with the same initial notes as Bach’s Partita No.3, Ysaÿe’s Sonata No.2 pays homage, before meandering into a unique composition that fluctuates between incredibly technical passages and deep, sensitive, song-like melodies.

It was J.S. Bach who wrote “Sei Solo” on the manuscript of his Six Sonatas and Partitas for Solo Violin. It is widely accepted that instead of writing “You are alone”, he meant to write Sei Soli, meaning “Six Solos”. But perhaps not. Bach may also have been taken by the exploration of solitude for the instrument and instrumentalist. With her violin and the musings of six great composers, Clarissa Bevilacqua adds her own exceptional interpretation.  

Dream Catcher

Fiddle Dance Suite - 1. Sidestep Reel

Violin Sonata, Op. 31, No. 2 - IV. Fünf Variationen über das Lied “Komm, lieber Mai” v. Mozart

Recitativo and Scherzo, Op. 6

Violin Partita No. 3 in E Major, BWV 1006

Violin Sonata No. 2, Op. 27 “Jacques Thibaud”

Dmitry Smirnov, violin (Russia) / Ambassador: Sonia Simmenauer

Joined by Laurie Hamiche (soprano) and Loréna Sajous (dance)

Dmitry Smirnov: A Confluence of Distinct Concepts

 has a bright and sharp resonance, not unlike the steel strings of a modern violin. 

, on the other hand, has a softer and warmer tone - like the gut strings of a Baroque violin. Dmitry Smirnov was first introduced to a modern violin as a child, revealing a shining virtuosic technicity. It was only later, at the age of 20, that he started exploring the Baroque violin. Its warmer tone opened a new pathway for expression, resulting in a softer sound that could lullaby each note through a tender simplicity. Described as “one of the most unconventional minds among young violinists” by the Strebi-Erni Foundation, Smirnov aspires to end the separation between modern playing and historically informed playing (HIP), by applying a HIP approach to any repertoire. Like Smirnov’s experimental infusion of Bach’s D minor Partita and Bartók’s Solo Sonata, this concert will shuttle between the modern and the historical. 

We begin with the dulcet tones of the lyra da bracchio, a Renaissance stringed instrument that was used by Italian musicians at court to accompany readings of lyrical poetry. Shaped similarly to a violin, it has two additional strings off the fingerboard that act as drones, providing a full-bodied resonance that can support a musical tale. Tales such as those created by Angelo Poliziano, a notable humanist of Renaissance Florence, through his studies of classical texts. Poliziano’s works include Fabula di Orfeo, a drama set to music in a manner not unlike that of Dmitry Smirnov, melding the Ancient Greek legend of Orpheus with the vibrant “rebirth” movement of the Renaissance. Through the somewhat lost art of improvisation, Smirnov will challenge our perception of new and old with an inimitable display of an experimental mind rooted in ancient traditions. 

This patronage to past masters was shared by Eugène Ysaÿe, a Belgian virtuosic violinist. He remains one of the technical and artistic standards for the modern violin today, almost 100 years after his death. Despite his nearly unparalleled technique, tone, and articulation that pushed the boundaries of innovation, he remained close to the musical past. Upon hearing Hungarian virtuoso Joseph Szigeti perform Bach’s partitas and sonatas for solo violin, Ysaÿe raced to compose a set of violin works that celebrated the evolution of musical techniques and expressions of his time. And so, his Six Sonatas for Solo Violin was born. With each sonata dedicated to a great violinist of the era, this set of works is a masterful extravagance that challenges the most capable musicians to push beyond mere technicity and reveal all the hope, despair, and passion felt as humans. Smirnov will not only display his musical mastery through three of these sonatas (dedicated to Joseph Szigeti, George Enescu, and Manuel Quiroga) but will also open the door a little wider into who he is. 

Compared to Eugène Ysaÿe, Netty Simons remains something of an enigma. Born in 1913, she was an American composer, pianist, and teacher. Her piece “Circle of Attitudes” for solo violin and dancer, will be performed by Smirnov and the dancer Loréna Sajous as a Swiss première. There are five movements to this work: Bereavement, Awareness, Fear, Dauntlessness, and Abandonment. We may know less about Simons but it is clear that, as in the case of Ysaÿe, the human condition remains important. 

As this concert comes to a close, we may question if it is only the bright fizz of the modern violin and the warm indulgence of the Baroque violin that we should seek to connect. During Kurtág’s brief exile in the late 1950s, he met an art psychologist named Marianne Stein. It was a period of personal and creative crisis for Kurtág. Stein taught him something that technique could not: “[she taught] me to take my time and, as it were, to forgive myself. It made me freer.” This liberation was influenced by the works of literary figures including Friedrich Hölderlin, Samuel Beckett, and Franz Kafka. Shifting between realism and the fantastic, Kafka explored vulnerability and our state of alienation in his novels, notebooks, diaries, and letters. From these texts, Kurtág collected random fragments over several decades that ultimately became the impetus for the Kafka Fragments, an intimate duet between vocalist and violinist that shares glimpses into an inner world. 

It appears that there is a constant bipolarity at play: between modern playing and historically informed playing, ancient and reborn, improvisation and composition, technique and emotions, realism and the fantastic. This concert by Dmitry Smirnov is an opportunity to see how these opposing ideas can exist together. 

Sonata highlights (from No. 1, No.3 and No.6)

Alexey Stychkin

Alexey Stychkin talks about the Ambassador Programme, the Staatskapelle Berlin, his experience at the Kronberg Academy and his openness to chamber music and working with other artists, in this interview with Benjamin Woodroffe. 

Alexey Stychkin Interview

 (composer) as the two young artists joining  us this season for the Ambassador Programme 2023-2024, via our open application. 

These two wonderful artists stood out in a highly competitive application process, and we are very happy to support them in their development over the coming year. 

We would like to thank everyone who applied, for their effort and time that went into applying, and encourage anyone who did not receive a place this year to apply next year. Applications for next season will be open in early 2024, please check our 

Clarissa and Elise will join the nominated artists on the Ambassador Programme for the season 2023-24. The full selection of artists will be announced later this week.  

__________________________________________________________________________________

Violinist Clarissa Bevilacqua is known to enchant audiences with her dazzling technical skills and deeply inspiring musicality. Music director and conductor Terry Lowry says she has that 

“rare star quality that is difficult to describe, but impossible to miss.” 

Clarissa debuted at the Pritzker Pavilion in Chicago in front of ten thousand people when she was nine years old. She has performed solo recitals and concerto engagements at venues throughout North America and Europe. Recent and upcoming soloist performances include the opening concert of the Mozartwoche 2023 with the Mozarteum Orchestra Salzburg, the premier recording of the Augusta Read Thomas concerto with the BBC National Orchestra of Wales, Cape Symphony, Thailand Philharmonic Orchestra, Filarmonica Arturo Toscanini, El Sistema Orchestra and the Salzburger Orchester Solisten. 

Winner of several international competitions, she was awarded First Prize, Audience Award and Special Bärenreiter Award at the International Mozart Competition Salzburg, as well as the Grand Prize at the Cape Symphony International Violin Concerto Competition. She is a Young Artist of the Classically Connected Organization in New York, and an Affiliate Artist of the Guarneri Hall Program in Chicago. An avid and enthusiastic learner, Clarissa received her Bachelor of Music at age sixteen, graduating summa cum laude. In 2021, she completed her Master of Music in Violin Performance at the Mozarteum University Salzburg with Pierre Amoyal and  is currently studying with Antje Weithaas at the Hochschule für Musik "Hanns Eisler" in Berlin.

Born in 2000, Elise Bertrand began playing the piano at the age of 5, the violin at the age of 8, and began composing just three years later. After studying at the CRR in Toulon, Elise went on to obtain her master's degree at the CNSMDP in the class of Roland Daugareil and extended her career in higher writing classes in the same establishment (harmony, counterpoint, etc.). In 2022 she also became Artist in Residence at the Queen Elisabeth Music Chapel in the class of Augustin Dumay. 

After studying at the CRR in Toulon, Elise went on to obtain her master's degree at the CNSMDP in the class of Roland Daugareil and extended her career in higher writing classes in the same establishment (harmony, counterpoint, etc.). In 2022 she also became Artist in Residence at the Queen Elisabeth Music Chapel in the class of Augustin Dumay. 

Elise has also won numerous violin, chamber music and composition competitions, including 2nd Prize at the Ginette Neveu International Competition and the Special Prize for the best interpretation of the contemporary piece, in 2019; 1st Prize and Special Prize at the Léopold Bellan International Competition; and in 2022 she was awarded the 1st Prize of the Rotary Club Paris as well as 1st Prize – Honorary Prize at the International Competition for Young Talents in Normandy. 

Her first album "Lettera Amorosa" (on the Klarthe label) around her works is hailed by critics and the press.

Classeek announces talented Open Application winners 

Season 2023-2024

We are delighted to announce 10 very promising open application instrumentalist finalists for the Ambassador Programme 2023-2024. Like last year, we were extremely impressed with the high standard of the applicants and thank everyone sincerely for the time and effort that has gone into applying. 

Here are the 10 finalists of our Ambassador Programme (instrumentalists) open application, for season 2022-23:

Next week we will be announcing the final instrumental artist and composer joining our Ambassador Programme from our open application, along with all nominated artists. Stay tuned for the final result! 

Open Application Finalists 

Ambassador Programme 2023-2024

Winning the place on Classeek's first ever open application, violinist Alexey Stychkin joins the Classeek Ambassador Programme for the 2022-23 season.

Russian-Greek violinist Alexey Stychkin comes from a family with deep musical and artistic roots. Born in Moscow in 2000, at the age of five he started his violin studies at the Central Music School for Gifted Children in the class of Galina Tourchaninova. During his school years, he performed in Greece, Israel, Italy and throughout Russia. He has continued his studies with Marc Bouchkov in Liege Royal Conservatory. Currently, Alexey is studying with Mihaela Martin in the masters program at the Hochschule fur Musik und Tanz in Cologne. Concurrently, starting with the 2022/23 season, he has received an academy position in the first violin section of the Staatskapelle Berlin and moved to Berlin. 

Alexey Stychkin  | Tchaikovsky  - Souvenir d'un lieu cher, Op. 42 -  No. 3 Mélodie

Classeek Showroom performance, 24 May 2023

Russian-Greek violinist Alexey Stychkin comes from a family with deep musical and artistic roots. Born in Moscow in 2000, at the age of five he started his violin studies at the Central Music School for Gifted Children in the class of Galina Tourchaninova. During his school years, he performed in Greece, Israel, Italy and throughout Russia. He has continued his studies with Marc Bouchkov in Liege Royal Conservatory. Currently, Alexey is studying with Mihaela Martin in the masters program at the Hochschule fur Musik und Tanz in Cologne. Concurrently, starting with the 2022/23 season, he has received an academy position in the first violin section of the Staatskapelle Berlin and moved to Berlin. 

Alexey Stychkin & Raúl da Costa | Cesar Franck - Violin Sonata

Classeek Showroom performance, May 2023

Bilal Alnemr

Nominated by Sonia Simmenauer, violinist Bilal Alnemr joins the Classeek Ambassador Programme for the 2022-23 season.

Bilal was born in Damascus and at the age of eight, he began to study violin at the Solhi-AL-WADI Conservatory. In 2007, he won the first prize in the national competition for young Syrian talents. His mentor Sonia Simmenauer says, “I was stricken when I met with Bilal the first time and his seriousness about being a musician. I admire his courage and dedication to music.”

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