This coming May 2025, the inaugural International Chamber Classics Festival (ICCF) is poised to make its highly-anticipated debut in the Belgian capital of Brussels, promising a world-class celebration of chamber music in the heart of Europe from the 9th to the 13th of the month, set against the stunning backdrop of the renowned Queen Elisabeth Music Chapel.
The brainchild of Konstantin Ishkhanov, the President of the festival, ICCF will be uniting some of the most accomplished musicians from around the globe for this occasion, blending together top-end tuition with performances of the highest calibre, and incorporating within it both a series of masterclasses led by some of the top pedagogues of our time, as well as a number of captivating chamber concerts featuring leading soloists and ensembles.
One such talent is the celebrated German cellist Claudio Bohorquez, a multi-award winning soloist whose career has spanned solo performances, chamber collaborations, and a dedicated commitment to teaching. We sat down with Bohorquez, who will be participating in ICCF as both performer and professor, to discuss his thoughts on the festival’s vision, his approach to teaching, and the magic of chamber music.
What drew you to participate in the inaugural International Chamber Classics Festival (ICCF), and what excites you most about its concept?
As a cellist, I feel deeply connected to chamber music; it’s a central pillar in my life. I’ve spent over 20 years teaching in Berlin, and the opportunity to combine teaching and performing in a setting like ICCF is incredibly appealing. The festival also brings together colleagues and friends I trust and enjoy making music with, so I’m very much looking forward to reuniting with them.
You’ll be leading masterclasses during the festival. How do you approach working with young musicians, and what do you hope will they take away from this experience?
First of all, a masterclass is a unique teaching method—it’s short and intense, unlike the long-term plans we develop over a year. This format can be a very interesting one for both teacher and student; there is firstly, a performative element, with the student playing a piece in front of the teacher and an audience, which is already a huge learning experience. Then, although it is a short time, we can explore many aspects of the piece during the class, and we can work on some hints for him or her to use after depending on his or her level.
The final goal is to ask many questions of the student, and leave them with some questions after the masterclass. This process is important, because they need to learn how to approach a piece, and hopefully this is a chance to open Pandora’s box for the student, so to speak. It’s very exciting, and it’s also a wonderful opportunity to discover new students and new talents of all levels.
Chamber music is a central focus of ICCF. How do you think it differs emotionally and technically from solo work? Do you have a preference?
I honestly don’t have a preference; the quality of the music defines my love for it. We are very blessed to have a wonderful repertoire in both chamber music and solo repertoire, and it would be very difficult to compare. If I really have to choose though, I would go for chamber music, because it allows me to share music with friends on stage. This is such a pleasure, the dialogue in the music and during rehearsals is wonderful – there is always a give and take – and then in the concert the magic happens.
The festival emphasises collaboration between seasoned artists and emerging talent. What do you feel is the greatest benefit of this cross-generational exchange?
This is one of the most exciting aspects of the festival! It is a fantastic situation to have such great young talents mix with us so-called professionals, and this challenges the emerging talents.
Of course, I am sure that they are all great instrumentalists, but maybe they are still missing the experience and the capacity to listen full time, and when a young talent performs with an experienced player, this can give them some inspiration and maybe a boost in their future career. For us it is always very nice to discover new young talented players of course, so it works well on both sides I feel.
As someone who has performed on many of the world’s most prestigious stages, how do you feel the setting of the Queen Elisabeth Music Chapel will enhance the atmosphere of ICCF?
The Queen Elisabeth Music Chapel has a long tradition and is a must for any young talent. It feels like a very natural venue for such a festival and is the perfect environment I think, so it’s really wonderful to have the home of the festival there. I haven’t been there myself yet but I’m very much looking forward to experiencing it for myself!
Your career spans solo work, chamber performances, and teaching. How do you feel these roles inform one another, if at all?
Yes, they definitely inform each other! The primary column in my musical life has always been performance. Ever since I was 18, I began playing and performing all around the world; it was a very natural path in my life and I had the great fortune to perform chamber music with amazing partners.
This plays a great role in my teaching, of course, because you want to give all the tools to your students for them to face their own professional lives, and in order to do that you need to become a good cellist and musician yourself.
In fact, when I play in concerts I am constantly analysing my own playing, because teaching is really a passion for me. I had a great teacher myself – Boris Piergamienszczikow – whom I miss dearly. He is still present on a daily basis whenever I touch my instrument, and in each lesson that I give, I feel that I am also teaching myself as well.
How has your experience with the organising team behind ICCF been with your preparations so far?
Well I’ve had the pleasure of meeting Konstantin Ishkhanov, the President of this event, in other festivals – in some he was a guest and in others he was part of the organising team – and I am very impressed by his passion for classical music and his commitment to this field.
For all the magic that happens when one is performing live on stage with other colleagues, we also need people that understand the need to support the classical music community, and I am very impressed by Konstantin Ishkhanov’s consistent support to this world, and very happy that somebody like him is on board for this wonderful project. I am very much looking forward to meeting Konstantin Ishkhanov again!
How has your collaboration with Artistic Director David Abrahamyan shaped your experience at ICCF?
David and I have known each other for a very long time. We have a lot of wonderful colleagues in common, and working with him always feels like being part of a family. His vision for ICCF – to bring together such a high-calibre group of musicians sharing the stage, working together, and presenting core pieces from the repertoire – is truly wonderful. It’s a beautiful combination of musicians and I’m very much looking forward to it.
The International Chamber Classics Festival, led by President Konstantin Ishkhanov and Artistic Director David Abrahamyan, is set to take place from May 9th to 13th, 2025, at the Queen Elisabeth Music Chapel in Brussels. Registrations are now open, so visit the official website at chamberclassic.com to apply now!
