When thinking of music competitions, most of us might have a clear idea about what the ‘competition’ part entails. Rounds of auditions, carefully selected programmes, hours of rehearsals, increasingly high stakes. And yet, there is another race happening in parallel, not as public but equally significant: that of the contest itself competing for its survival, against the backdrop of ever-changing circumstances and pressures of the modern world. It is this crucial, often overlooked side of classical music competitions that I talked about with Didier Schnorhk, Secretary General of the renowned Concours de Genève. In anticipation of the next edition in November, which marks the contest’s 80th anniversary, Schnorhk guides us behind the scenes of more than two decades at the head of the Concours – and shares a few secrets to its longevity.
“In Geneva, the Concours is almost like a centripetal force. It is a natural activity that draws everyone in, and I was no exception,” Schnorhk jokes. “My initiation to the contest was as a cellist in the Orchestre de la Suisse Romande, accompanying the finals. Around the turn of the millennium, however, I was gradually abandoning the cello and veering towards music management. It was a tumultuous time in my life – I was a young father and basically unemployed for six months. When I read there was an opening at the Concours because the previous Secretary General was leaving, I thought that could be the chance of a lifetime.”
To Schnorhk’s surprise, the leap of faith paid off. A strong project and guidance from experienced friends earned him the position that he has been holding since 1999. And yet, what followed was a no less hectic period of adjustment.
“The beginning was difficult. I had a few years of experience in music management, but not with competitions. My predecessor left and couldn’t be reached, and the contest was going through a rather rough spot financially,” he recalls. “We worked frantically to find sponsorships. Slowly, we started breathing again. Only then I allowed myself to think of taking more risks, of creating something new.”
For an institution like the Concours, which stands on decades of history, conditions of survival resemble those of a shark: if it stops moving, it dies. Founded in 1939, the competition rapidly gained popularity thanks to the high standards set for its participants in each category. 26 disciplines have been featured in the contest so far, with eight of them – piano, voice, flute, clarinet, viola, cello, string quartet and percussion – alternating regularly nowadays.
Perhaps the best introduction to the Concours would just be a list of some of its winners: Arturo Benedetti Michelangeli (who won the opening edition), Sir Georg Solti, Friedrich Gulda, Maria Tipo, Martha Argerich, Victoria des los Ángeles, Heinz Holliger, Emmanuel Pahud and more. It is in large part thanks to Schnorhk that the list keeps growing, as the result of a tireless work of networking and exchanging ideas.
“I learnt very early on that in this field it is impossible to innovate – or even stay afloat – without connecting with others. At the beginning of my tenure, I decided to pay visit to some colleagues who managed other major music competitions. I went to Brussels for the Queen Elisabeth Competition, to Munich for the ARD International Music Competition, and to the Leeds International Piano Competition because I wanted to meet Dame Fanny Waterman, an absolute legend in the industry.”
At the same time, Schnorhk strengthened ties with the neighbouring Geneva-based World Federation of International Music Competitions, which the Concours contributed to found in 1957: “The Federation helped me gather so many different perspectives, first as a member of the committee and then as Vice President. Nobody can do this type of things just by themselves.”
Curiosity, precision and hospitality have since then remained the core principles of Schnorhk’s project, in line with the history of the contest. The introduction of new disciplines and opportunities, like the Career Development Programme for laureates, has allowed the Concours to expand its charted course, drawing in more people from different backgrounds and accompanying them long past the end of each edition.
“Over the years we have tried to present new facets to what these events can be,” Schnorhk explains. “We launched new categories, like the string quartet, percussion and composition competitions, together with programmes that grant our laureates partnerships with agencies and dedicated workshops after the Concours. Every edition brings something new, and there will always be ups and downs. With time, I understood that fluctuation is a part of the game. In any case, our priority is to keep our promises and present a fair, high-level competition with transparent rules. This, to us, is doing things ‘the Swiss way’ – after all, we are a country of bankers, insurers and watchmakers!”.
Nevertheless, Schnorhk doesn’t take anything for granted. His plan to weave the Concours into the fabric of contemporary music has required continuous effort, particularly since the inauguration of a biannual composition competition in 2008. The rotation of categories is structured as a self-fuelling circuit. Since all composition entries are to highlight the instrument chosen for the following edition, the repertoire written ad hoc features a new protagonist every time. This year, however, has something unprecedented in store: composition will be paired with conducting, meaning that the programme for all conducting applicants will include the premieres of pieces submitted by emerging composers. Risky?
“It’s a risk I’m happy to take,” Schnorhk laughs. “Composition has been a great break for us, because it has helped us achieve what I have always looked forward to: bringing contemporary music to the heart of the competition. From my time as a cellist, I remember receiving very little exposure to this repertoire. It’s a niche sector, which leaves even professional musicians uninterested and/or unequipped for what is being composed nowadays.”
The upcoming special edition is meant to bridge this gap, placing young conductors side by side with young composers: “It is possible that otherwise very skilled conductors will feel disoriented by this repertoire, or that good compositions will be affected by a less experienced conductor. I find this tension very exciting. Of course, the committee organised everything to the last detail, so that all participants have enough – but not too much! – time to familiarise themselves with the scores. A great conductor of contemporary music, Pascal Rophé, has worked with us to advise the applicants.”
The criteria set for composition submissions are quite strict, but still loose enough to leave composers with a good margin of action: the pieces must be 12 to 16 minutes long, scored for symphony orchestra with no soloists or electronic systems. Not too much can be revealed about the works of the three finalists – Sing-Yat Chen, Hanurij Lee and Rafael Marino Arcaro – but Schnorhk teases: “They are all very different compositions, even within the guidelines we provided. All three finalists have distinct styles, some cherishing a more traditional sound and some leaning into an experimental, effervescent approach. I can’t wait to see what the jury will decide.”
A trusted, diverse but cohesive jury – chaired this year by Unsuk Chin – is one more trademark of the Concours across the decades. Still, changing times urge Schnorhk to update what the contest has to offer, in the face of rapidly evolving technology and necessities: “Visibility is the keyword now, for participants and the city alike. It has become impossible to conceive of an edition without live streaming or social media coverage, because they exponentially amplify our reach and our appeal beyond traditional prizes. Regardless, it’s detrimental when competitions get flattened to just a showcase, or a market. I like to think of the Concours as a kind of festival.”
The responsibility of offering a platform for young performers, with the guarantee of its quality and reliability, is the reason why Schnorhk believes in the future of the Concours and of similar music events, big and small. From his experience, cutting corners for flashy promotion at the expense of a fair competition means that contests will be short-lived or earn a questionable reputation. The best way to avoid this is focusing on what makes the results of the competition most durable, allowing it to leave a mark in the music industry.
So, what does the future of music competitions concretely look like? Schnorhk doesn’t hesitate to reply: “Invest in what you do for young artists after the contest. Help them interrogate themselves about who they are as a performer, and what they want. Not everyone needs or even wants to become a star. As a debutant in a high league, it is essential to know what you want from your career and to work towards what will allow you to express yourself genuinely. I believe competitions should evolve in this direction, to provide support during a time of self-discovery. It isn’t easy, but some of us are already doing it. And it is the reason why I do this job!”.
The 80th Concours de Genève runs from 6th–13th November.
The 2nd round of the 2025–26 Conducting Competition can be viewed here.
This article was sponsored by Concours de Genève.
