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!

Meet the 2024-25 Finalists

Who among them will be joining our Ambassador Programme?

Classeek Announces 2024-25 Open Application Jury

With applications now closed, meet the team that will choose the winners

As part of the ongoing collaboration between Classeek and ICMA, we are thrilled to unveil the recipient of the 2024 ICMA Classeek Award. This prestigious accolade recognizes exceptional young artists and their contributions to the world of classical music.

Meet Cassie Martin: 2024 ICMA Classeek Award Winner

We are delighted to announce that the winner of the 2024 ICMA Classeek Award is Cassie Martin, a French classical guitarist whose virtuosity has captivated audiences worldwide. Cassie's musical journey began at the age of 5, and her dedication to her craft has propelled her to the forefront of the classical music scene.

At just 21 years old, Cassie has already clinched several international accolades, including the prestigious 1st Prize at the Silesian Guitar Autumn 2022 in Poland, Forum Guitar Wien 2022 in Austria, and the Taiwan International Guitar Competition 2022. Her accolades also include recognition at the Paris International Guitar Competition 2022 and the Alirio Diaz International Guitar Competition 2022.

Cassie honed her skills at institutions like the Conservatoire d'Orléans and the Conservatoire National Supérieur de Musique et Danse de Paris. Under the mentorship of renowned guitarists such as Sergio Assad and Jérémy Jouve, she has blossomed into a versatile artist. In addition to her performing career, Cassie shares her passion as a teacher at the Conservatoire de Saint-Cloud. As a Savarez artist, she plays a guitar crafted by Fernando Mazza.

This year's roster of nominees consisted of outstanding artists who were shortlisted for the Classeek Ambassador Programme open application. Each one has made significant marks in their respective fields: flautist Rafael Adobas Bayog, violinist Oliver Neubauer, cellist Jiayi Liu, and pianist Philipp Lynov.

We are also proud to announce that Aida Pascu (soprano), winner of the 2024 ICMA Young Artist award, will join the 2024-25 season of our Classeek Ambassador Programme. This exchange, within the framework of our partnership with ICMA, furthers our commitment to nurturing young artists.

Save the Date: Award Ceremony in Valencia

Cassie will be presented with the award at this year’s ICMA ceremony, which will take place on April 12th in Valencia. She will also perform at the gala concert with Orquesta de València and Alexander Liebreich. Both the ceremony and concert will be available to watch online – 

Announcing the 2024 ICMA-Classeek Award Winner

Celebrating Cassie Martin, classical guitarist 

We're pleased to announce that applications are now open for the 

Classeek Ambassador Programme, Season 2024-25

. If you’re an instrumentalist or composer between the ages of 18 and 30, this is your opportunity to embark on a journey that could help shape your musical career.

The Classeek Ambassador Programme is a distinguished one-year career enhancement initiative crafted for promising young classical artists. Geared towards those ready to advance to the highest echelons of their musical pursuits, the programme unlocks doors to unparalleled opportunities in the international classical music scene.

This season, we're excited to open two spaces in our programme for instrumentalists and composers looking to take their careers to the next level. Whether you are in your final year of studying or are on your way to looking for an agent, we are here to help. Let us help you fill in the gaps to navigate the business of classical music so you can focus on honing your craft for an international music career.

Visit our dedicated Ambassador Programme page

 to delve into the programme specifics, understand entry requirements, and initiate the application process. This is your chance to demonstrate your talent, passion, and dedication to classical music.

Traditionally, entry into the Ambassador Programme has been through nomination by one of Classeek's esteemed 

, but since 2021 Classeek’s open application created space for artists across the world to apply regardless of their connections. Stay tuned for updates on the complete list of ambassadors and their nominations, which will be announced next year. 

The Ambassador Programme is more than just a programme; it's a community that nurtures talent, fosters connections, and supports careers. 

Applications are open from now until February 11th, so make sure you submit yours as soon as possible. 

We wish the best of luck to all of our candidates – keep an eye on our Instagram for updates as we close in on the application deadline. We can’t wait to see what you’ve got in store!

Apply: Classeek Ambassador Programme 2024-25

Now accepting applications!

Trio Pantoum, the critically acclaimed chamber ensemble, announces the addition of a new member, pianist Kojiro Okada who will be joining current members Bogeun Park and Hugo Meder. This change follows the departure of Virgile Roche, who leaves after a remarkable seven-year tenure with the trio to pursue other opportunities.

Trio Pantoum has experienced a series of notable achievements this year, including winning first prizes at the Trio di Trieste International Chamber Music Competition, Joseph Haydn International Chamber Music Competition and the Lyon International Chamber Music Competition. They also secured second prizes at the Osaka ICMC and Melbourne ICMC, and recently received the third prize at the Internationaler Musikwettbewerb der ARD in Munich. They are currently Artist Residency at the Queen Elisabeth Music Chapel and nominated into the 2023-24 Classeek Ambassador Programme.

The trio expresses enthusiasm as they enter their next chapter with their newest member:

“A long time friend since our Conservatoire studies together, Kojiro Okada is a magnificent pianist and marvelous chamber musician. It was very natural for us to continue our musical adventure with him. Kojiro brings us an energy, creativity and joy that we look forward to sharing with you at our upcoming concerts! We're really thrilled and we hope to see you soon at one of our concerts to enjoy the music together.”

Trio Pantoum promises further exciting developments with January 2024 opening with a tour of Italy, and by keeping your ClasseekLink account active, you'll have exclusive access to their latest news. The trio will collaborate with La Belle Saison and Philarmonie de Paris in 2024-2025 and will record their debut album.

Praised by critics as "a passionate and committed violinist" (Bachtrack), Hugo Meder represents the new generation of French violinists. Born into a family of Alsatian winegrowers, Hugo joined the Strasbourg Conservatory and subsequently the CNSMD in Paris under the tutelage of Alexis Galpérine in  2016.  In the meanwhile, he began a career as a soloist and performed regularly in venues such as the Auditorium de la Seine Musicale and Cité de la musique in Paris or the Kammermusiksaal in Stuttgart. He collaborated with the conductors Mathieu Herzog, Chloé Dufresne and Marie Jacquot  with several orchestras. A winner of prestigious international competitions, Hugo has garnered recognition in La lettre du Musicien and France Musique.

French-Korean cellist, Park is a rising star in the world of classical music. Trained at the Conservatoire de Reims and the CNSM in Paris with notable instructors, including Marc-Didier Thirault, Jérôme Pernoo, and Christophe Coin, Park was also a distinguished member of the Tchaikovsky Promotion at the Académie Musicale Philippe Jaroussky during the 2021-2022 season. Prizewinner of several international competitions, his performances are extending all around the world as a soloist and chamber musician. Embracing various genres, he has a particular affinity for early music, exploring the sounds of period instruments and championing a repertoire from Gabrielli to Beethoven. 

 Bordeaux-born pianist, Kojiro Okada began playing the violin alongside his brother, but soon after turned to the piano. In 2008, he was admitted to Anne-Lise Gastaldi's class at the CRR de Paris, where, at the age of thirteen, he won the piano prize with distinction. He then entered the class of Hortense Cartier-Bresson and Florent Boffard  at the Conservatoire National Supérieur de Musique et de Danse (CNSMD) in Paris. He has already performed in numerous Parisian venues, including the Salle Pleyel as well as the Festival Chopin de Nohant, Festival Nohant Hors les Murs and Festival de l'Orangerie de Sceaux.. He shares the stage with great musicians such as Marie-Josèphe Jude, Frank Braley, Philippe Graffin, Miguel da Silva, Jérôme Pernoo and Yves Henry. In October 2018, he also won first prize at the Gabriel Fauré International Competition.

 for more information about their upcoming concerts. 

Trio Pantoum Announcement

Welcoming new member Kojiro Okada

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

The Journey to a Double Bass Concerto

Stereotypes might have us believe that the classical audience is typically older, whiter and richer. How true is this?

According to research into the global distribution of classical music listeners conducted by 

 in 2018, 29% of audiences for live classical concerts worldwide were under the age of 35, with 4% aged 16 – 19. So, whilst it’s true that the majority of classical listeners were aged 55 and over, it might be pleasantly surprising to see that nearly a third of the global audience are – at least according to this study – ‘millennials’. A whopping third of the global classical audience were born after the invention of the World Wide Web. These numbers are reflected by several ensembles I’ve spoken with; 29% of the Royal Liverpool Philharmonic Orchestra’s mainstream concert audience are under 25, and nearly a quarter of attendees of the Manchester Collective’s recent tour, The Oracle, were under 35. Whilst most organisations tell me their core audience is indeed beyond 50 – as these numbers still illustrate – perhaps we should redefine our understanding of just how small a ‘minority’ youth might be within this. 

Royal Liverpool Philharmonic - Photo credit: Gareth Jones

When it comes to overall audience size and growth, the numbers are not necessarily encouraging. Zooming in on the UK, the funding body 

 conducted a thorough survey of adult engagement with music in England in the 2014/15 season. ‘Taking Part’ found that there was a significant fall in attendance of classical concerts; just 8.3% of adults in England attended classical gigs in the 2005/6 season – an already alarmingly-low figure – and this had fallen to 7% by 2014/15. The proportion of English adults who attended an opera fell in the same period from 4.4% to 3.7%. Whilst other ‘specialist’ genres saw a decrease too, it was not as dramatic: jazz attendance dropped from 5.6% in 2005/6 to 5.2% in 2014/15. This suggests that not only is classical concertgoing a minority preference, but that it is in decline.

It’s not for want of trying. Look at English National Opera (ENO). They describe themselves as ‘the opera house for everyone’, and present a compelling range of community projects, youth discounts and broadcasts alongside their English-language stage productions. 156,000 people take part in their learning and participation programmes every year, whilst 2.2 million people saw their work through broadcasts in the 21/22 season. ENO are masters of presenting opera in unexpected ways and places, not simply expecting audiences to come to them. I think of ENO Breathe, where vocal lessons have been used to help 2000 people suffering from long COVID; the opera house now partners with 85 NHS (National Health Service) Trusts across England. I think of ENO’s drive-in productions during the pandemic, where audiences sat in their cars whilst enjoying Puccini. I think of their free tickets to under 21s, with more than 7000 given through the current season so far. This means many more – and many younger – people are trying opera for the first time; as of March 2023, more than 60% of their audiences were booking a ticket for an ENO production for the first time. That is massive: half of an entire audience had never been there before. Although classical audience attendance might be in overall decline, the story at ENO suggests people are more than willing to give opera a go. ENO proves the classical audience, will and invention remain as strong as ever. 

London Coliseum Auditorium - Photo Credit: Karla Gowlett

Is the age question even a problem? In mainland Europe, the Lucerne Symphony Orchestra’s Numa Bischof Ullmann is not alarmed by the fact the majority of their audience is over 50: “there are clear reasons for this. Classical music has always been something you need to take time to grow in to. The more you know about it, the higher the degree of appreciation and fascination. Also, retired people have both the time and means. This has always been like that and will remain like that.” Whilst Bischof acknowledges that “the biggest challenge we face is dwindling understanding of classical music, which can be seen in education, politics, the corporate world and the family home”, he remains optimistic, since the fundamental power and importance of an orchestra is unchanged. “A quality orchestra makes everybody happy and proud. An orchestra is a social umbrella; there is space for everyone. Look at our orchestra, which contains more than 20 nationalities. The best of the best.” Orchestras increasingly reflect the multinational and multicultural world we live in, and it could be argued that the very existence of so many ensembles today suggests vibrancy and viability. 

What might keep an audience away from a classical performance? Cost is certainly prohibitive in learning an instrument, but perhaps not in sampling a live concert. 

 reported on classical audiences in England between 2014 and 2016, surveying 113 venues, orchestras and ensembles; they found that the average price paid for a ticket by one-time bookers was £19.41. Compare this to musical theatre: in 2022, 

found that the average lowest-priced ticket to a West End show was £22.56. One of my frustrations is the assumption that classical performances are uniformly expensive, when a.) there are countless discount schemes on offer, and b.) so many of the other cultural activities engaged with can be eye-wateringly pricey. The Stage research found that, by 2022, the price for top-tier tickets to see West End shows had risen by 21% since the pandemic, to an average highest ticket price of £140.85. Some tickets to Cabaret on the West End reached the dizzy heights of £303.80. A balcony seat to see Adele in Las Vegas last year set some people back £650; that was the ‘cheap’ option. Sure, the Royal Opera House has seats for its upcoming production of Aida priced at £230, but tickets start at £11. Every cultural event of any kind has a range of ticket options, and we must remember we are paying to see the best of the best. Whilst aspects of classical music are indeed depressingly pricey – think of the ridiculous £119 charged for an ABRSM Grade 8 exam – the idea that classical music is uniformly more expensive than other genres is not true.  

Royal Opera House - Photo Credits: Sim Canetty-Clarke

This does, however, point to another major challenge: competition. We live in a noisy world with free time that’s increasingly full of options. Indeed, when classical music is not enjoying the mainstream visibility it used to – with newspaper column inches cut and social media algorithms targeting what you already know and love – it’s little wonder audiences might be declining. 

Then there’s the elephant in the room: music education. I attended a state school in South London that, whilst encouraging my own musical interests, simply did not have the resources to develop this more extensively themselves: for a school of nearly 2000 pupils, there were just 2 full-time music teachers. All too often, the onus is on the students themselves to pursue their musical passion and make it into a career, or on wealthy parents who can subsidise their child’s musical studies outside of school hours. 

But all is not lost. My gateway into classical music was a series of free-to-enter initiatives run by British ensembles. My first experience of composing for an orchestra came thanks to the ROH Fanfare project, where ten state school students wrote a fanfare that was recorded by the Orchestra of the Royal Opera House under Sir Antonio Pappano. My piece was piped through the House to call audience members to their seats throughout the season, and it spurred me on to continue writing for orchestras; within two years I had composed for the Royal Liverpool Philharmonic and Bournemouth Symphony. Encouragement is priceless. It can be seen everywhere; the Royal Liverpool Philharmonic Orchestra welcomes over 17,000 children and teachers from 250 schools annually as part of the In Harmony programme. Since 2007, New York’s Metropolitan Opera has run its 

, transmitting opera in real time and in high definition to schools across America; it now reaches 66 districts in all 50 states, with their operas seen by 175,000 young Americans.  The will – and the young people – are there.

The Metropolitan Opera - HD Live in Schools

Classical music is, in many ways, booming right now. As those live streams demonstrate, there are plenty of opportunities to come across the genre in unexpected places. This season, the Met will broadcast ten live performances to over 2000 cinemas across more than 70 countries. Elsewhere, California’s Vitamin String Quartet brought the chamber music sound to a mass audience when their recordings were featured in the Netflix hit, Bridgerton; the ensemble have clocked up over one billion streams and 1 million physical unit sales. Likewise, consider the cross-genre collaborations taking place on an-ever-increasing scale: pianist Lang Lang’s latest album sees him reimagine hit songs from Disney films; six-time Grammy-winning jazz trumpeter and film composer Terence Blanchard has made his Met Opera debut, becoming the first black composer to have an opera played there; classical composer Judith Weir, musicals master Andrew Lloyd Webber and film regular Patrick Doyle are all contributing new music to the Coronation of Britain’s King Charles III in May. Minds and doors have arguably never been more open to classical music.

Perhaps we need to redefine ‘classical audience’. After all, we don’t talk about a ‘pop audience’; these genre labels are broad umbrella terms for such a range of music, and nor can we define an audience so easily. Colleagues tell me the bulk of their audiences stick to what they know; those who attend ‘mainstream’ orchestral concerts – a Rachmaninov concerto, say – won’t be found in the contemporary music gig, nor the early music scene. Just as ‘classical’ and ‘pop’ are catch-all terms, so is the word ‘audience’. 

With my radio presenter hat on, the classical audience is broad. In 2019, Bauer Media – a company whose portfolio of radio stations and magazines reaches over 22 million UK adults – launched a brand new national classical music station, Scala Radio. The fact that a major European media organisation willingly ploughed huge resources into launching a new classical station speaks volumes about the predicted audience for classical music. Look at Classic FM, Scala’s commercial competitor; in February 2023, they recorded 5 million weekly UK listeners, consistently enjoying the ninth or tenth highest reach of any UK radio station (pop and rock ones included). 

We shouldn’t be disheartened. From vocal-medical programmes to cinema relays and new radio stations, classical music remains as inventive and relevant as ever. The challenge is and always has been communication, visibility and education; to normalise classical music so that it is a part of everyday life. This is already happening in cinemas, streaming, in community projects and beyond… But how much of this is news even to those who work within the profession? I’m constantly surprised to learn about ticket discount schemes, competitions, digital offerings and charities. This proves the dots are not always joined. Can we ever shout loud enough? 

There is always more to discover, but perhaps that’s the reason why I remain highly optimistic for the future of classical. When something is so vast, so broad, so international, it can only mean opportunity. There’s something for everyone, and there can and will always be more. We have the ultimate treasure trove to share and shout about, but must never be passive; classical music has been created out of ingenuity and tenacity, and that same spirit will inform its future.

Jack Pepper (b.1999) is a British composer, broadcaster and writer. 

Distribution of classical music listeners worldwide as of the 4th quarter of 2018, by age group.

https://www.statista.com/statistics/1021633/classical-music-fans-worldwide-age/#statisticContainer

https://www.artscouncil.org.uk/sites/default/files/download-file/Music_profile_2014_15.pdf 

National Classical Music Audiences | An analysis of Audience Finder box office data for classical music events 2014-2016. 

https://www.theaudienceagency.org/resources/report-classical

The Stage ticketing survey 2022: top prices surge 20% from pre-pandemic levels.  

https://www.thestage.co.uk/news/the-stage-ticketing-survey-2022-top-prices-surge-20-from-pre-pandemic-levels

https://www.metopera.org/discover/education/hdschools/

Who’s Listening?

Jack Pepper explores the classical music audience of the past, present and future, and how to bring in a new generation…

Our annual Summer Gathering was a very memorable week, where young artists and industry professionals from around the world came together to learn, rehearse and perform together from 9-13 July. This week covered plenty of wonderful chamber music rehearsals culminating in a performance, but also covered everything that surrounds a career in music, from the recording industry, media coaching, career coaching and much more. 

As many young artists arrived for the Summer Gathering, there was a sense of anticipation and excitement about what was to come and what could be achieved during this varied week. The artists selected for this week were: 

On Monday 10 July, we began with a session on the recording industry with Aurelia Rippe (Head of A&R and Production, Naïve Classique)  chamber music session was hosted on 

Mozart Flute Quartet, Piazzolla Duo and Dvorak Terzetto

. This was the first time some of the artists were playing together, so there was a great sense of excitement and possibility in the room. With some dinner and a rehearsal in the evening with 

 (composer), the course started off in a relaxed way as everyone got to know each other.

On Tuesday 11 July, the day commenced with an early morning relaxing meditation with 

 (pianist and producer of podcast ‘The Conscious Artist’) and continued after breakfast with some media coaching with 

 (co-founder of Sforzato). The artists had more valuable time with Pallavi later in the day in ‘The Conscious Artist’ to give advice and mental health and spark conversations among the artist on this topic. 

After lunch, the artists had a chance to rehearse Schubert Trout Quintet, Dvořák Quintet  and Mozart Flute Quartet with Raphaël and Eric, followed by some more personal media coaching with David later in the day. 

(Artist Manager) also joined us at this time to give some valuable career coaching. After dinner, the day finished with a workshop on ‘Being an Open Musician’ with Eric Tanguy. 

Wednesday 12 July started off with a  wonderful session with 

 on Alexander Technique, a technique which helps a person discover a new balance in the body by releasing unnecessary tension which can be very useful for performance. Just after this we had a fantastic round table discussion led by

(Music Management); with Eric Tanguy, Pallavi Mahidhara and Raphaël Merlin, posing great questions to think about such as: 

What am I doing all of this? Who am I playing for? Can one build a career? 

After this fruitful discussion, the artists had lunch and then travelled to Château d'Aubonne for a rehearsals and a concert to showcase what they had learnt during the week. This was a gorgeous evening, with a receptive audience and very enjoyable repertoire: 

   Duet for Cello and Double Bass in D major (Finale)

       Piano Concerto No. 9 'Jeunehomme', K. 271 (Mvt I)

    Flute Quartet in D major, K.285 (Mvt 2&3)

        String Quintet No. 2 in G Major, Op. 77 (Mvt. I)

The final day of the course (July 13) arrived, and it was just as busy and exciting as the rest, starting off with a posture and stretching workshop with 

. This continued with an enriching workshop with 

 (violinist & environmentalist) on sustainability and being a voice of the future, followed by a fun improvisation session.  After this, the artists said their goodbyes after a memorable and enjoyable week with a lot to take away. 

A huge thank you to all the young artists and industry professionals that came together to make this week a success. It makes all the hard work worthwhile!

Classeek Summer Gathering 2023

An inspiring week of music making and workshops with young artists and industry professionals 

Classeek announces an outstanding selection of up-and-coming artists joining the Ambassador Programme, for the 2023-2024 season, cementing its position as one of the best opportunities for young classical musicians today to accelerate their career on an international platform. 

The Classeek Ambassador Programme was founded in 2017, and aims to support young musicians in the ever changing landscape of the classical music industry today. The programme aims to open up doors for musicians in an alternative way to the traditional competition and word of mouth format, where well respected figures in the industry can recommend young musicians for the Ambassador Programme. These figures include G

autier Capuçon (cello), Renaud Capucon (violin), Emmanuel Pahud (flute), Sir András Schiff and Michel Bérof (piano), Miguel da Silva (violin)

 Classeek also enjoys links with prestigious institutions such as 

Conservatoire de Lausanne, International Classical Music Awards, Bucharest Symphony Orchestra 

The Ambassador Programme offers the young artists an opportunity to perform in an internationally streamed high quality concert, allowing industry professionals and audiences to tune in and follow their debut concerts remotely. The concert is combined with a cocktail evening, where the artists have the chance to network and pitch their projects to a selected crowd.  

The one year programme is entirely tailor made and crafted into a real acceleration model providing support and advice to help the young musicians jumpstart their career. It includes professional photoshoots, video interviews to showcase their musical career so far and to further present themselves, career and media coaching, opportunities to teach at masterclasses, concert opportunities and meet and play with the other young artists on the programme. This unique programme is an invaluable opportunity to enhance the careers of young artists and sharpen the music industry skills they need to build for a career in music.

 (Japan), piano / Ambassador: Sir Andràs Schiff 

 / America / Ambassador: Steven Issserlis

Classeek announces Ambassador Programme artists for the 2023-2024 season

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

 (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

Ambassador Programme open application jury

Selecting this year's applicants

We are thrilled to announce our newest addition to the Classeek Ambassador family, Miguel da Silva. Franco-Swiss violist and passionate chamber musician, Miguel's international career has led him to  concert halls across the world, as well as the founding of the renowned Ysaÿe Quartet,  with whom he performed for thirty years. 

Miguel's ambassadorship will support the Classeek Ambassador Programme in the capacity of artist coach, performer, and in collaboration with the  Queen Elisabeth Music Chapel in Belgium, Miguel will bring together the musicians of both programmes. 

Announcing new Ambassador

Miguel da Silva joins the team of ambassadors

« Durchaus fantastisch und leidenschaftlich vorzutragen; Im Legenden-Ton »

The title of the first movement of Robert Schumann’s Fantasia in C demands it ‘to be played fantastically and passionately; as if recounting a legend’. Therefore, in telling the story of Schumann and his music, we have no choice but to gracefully oblige:

…Once upon a time, back in the 1830s, there lived a law student in Leipzig. He soon realised that studying law was for him both Crime and Punishment, so he turned to song composition and piano performance instead. Yet the desire to analyse and critique was never far off. Hence, this almost-lawyer founded a music journal, the Neue Zeitschrift für Musik, where for ten years his perceptive writings represented the most progressive musical thinking of the time.

This student, a young Robert Schumann, promoted the work of prolific past composers like Mozart, Beethoven and Weber, as well as contemporary composers such as Chopin and Berlioz. However, his fervent advocacy of their music was not his only preoccupation. He was also entwined in a passionate love affair and, as is so often the case in legends, faced a formidable villain.

Enter Friedrich Wieck, renowned piano professor and father of Clara Wieck, a piano prodigy. From the beginning, Wieck opposed Clara and Schumann’s romantic entanglement, stating that Schumann could not support his daughter financially and was not of a high enough social standing. He forbade Clara from seeing him, threatening disinheritance. Thus began the couple’s separation in 1836, which led to the composition of Schumann’s Fantasia in C.

Often seen as one of Schumann’s greatest works for piano, and privately considered by Schumann as “…perhaps the most impassioned music [he had] ever written,” his Fantasia in C is a testament to the heart-stopping ecstasy and unresolved longing that being in love with Clara provoked. Contained by a loose sonata structure, Schumann nonetheless broke free from this Classical form to create an emblematic piece of the Romantic period. And like

all great romances, Schumann included a special message to his love. The coda of the first movement begins with a melody from the last song in Beethoven’s song cycle An die ferne Geliebte (‘To the distant beloved’). This melody is from the phrase “Take, then, these songs, beloved, which I have sung for you.”

Like all great legends, we cannot finish without returning to the beginning: our law student in Leipzig. For even though Schumann did not continue his studies, he initiated several lawsuits against Friedrich Wieck. His legal complaints against Wieck eventually led to Schumann and Clara’s court-sanctioned marriage on 12 th September 1840.

Regarded as one of the greatest composers of the Romantic era, Robert Schumann’s originality pushed emotional and philosophical boundaries. His music often told stories peppered with motifs and literary references.

After listening to his Fantasia in C, consider exploring his song-cycle Dichterliebe (‘A poet’s love’) to delve further into his tumultuous relationship with Clara Schumann.

Schumann, a legendary composer

MusiKa! pre concerts

Classeek artists join forces

We extend our huge congratulations to pianist and Ambassador Programme artist 

, who won second prize at the 17th Arthur Rubinstein International Piano Master Competition, last week. 

His success follows the announcement of his debut album 

, to be released on Alpha Classics later this month,  as well as his inclusion in 

 list, featuring thirty sensational musicians of today.

Giorgi will join us later this week, performing in recital at the Classeek Showroom,  in a programme of Scarlatti, Brahms and Liszt.  You can watch via our live stream here on 

Success for Giorgi!

The latest on Giorgi Gigashvili

International Classical Music Awards (ICMA)

 announced the launch of the ICMA  Classeek Award, promoting an outstanding young musician among the finalists of the Classeek Ambassador Programme open application. The winner and first recipient of the award was announced as French-Austrian double bassist,  Marc-André Teruel, French-Austrian double bass player. 

The award will be present to Marc-André at the ICMA awards ceremony, followed by a performance with the NFM Philharmonic and music director Giancarlo Guerrero, at the gala concert on 21st April -

 Find out more about the musician himself, in this

 interview with Marc-André and Charlotte Saulneron

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