The Zurich Chamber Philharmonic – where talents mature into world-class orchestral musicians
- Oli Kipfer
- Sep 23
- 4 min read
A conversation with Dr. Ulrich Stüssi, President of the Zurich Chamber Philharmonic (ZKP): about a talent forge unique in Europe; about the mission to bring young musicians to top-orchestra level; about full waiting lists, a vibrant ensemble culture—and the return of forgotten music after a hundred years.
What mission does the ZKP pursue, and how does it differ from other orchestras in Switzerland?
The ZKP’s mission is to foster young professional musicians in an excellent symphony orchestra so that, after a few years, they are appointed to an internationally renowned orchestra. About half of the members achieve this goal. The other half, at around age 36, hand over their seat in the orchestra to younger professionals. The outstanding musicians from 28 nations have all studied in Switzerland and live here today. There are waiting lists. The ZKP’s systematic talent development is considered unique in Europe. In addition, the orchestra regularly brings the works of my grandfather, Fritz Stüssi (1874–1923), back to the stage after a hundred years of slumber—among them two oratorios, cantatas, and orchestral pieces. These are composed in a beautiful late-Romantic style (somewhat in the tradition of Mendelssohn and Wagner).
What is your role at the ZKP, and how did you come to it?
After my career in industry, I wanted to conduct and founded the ZKP—then called “Orchester vom See”—in 2011, at the age of 66. After seven years of conducting and serving as artistic director (I was the only amateur musician in the orchestra), I passed the baton to Dominic Limburg, one of the best young conductors. Today I am the artistic director, fundraiser, and general factotum.
How has the ZKP developed over the past years and decades?
The ZKP has evolved from an amateur orchestra into one of Switzerland’s leading professional project orchestras. This is thanks to conductor Dominic Limburg, concertmaster Stefan Tarara, and my systematic management of all activities.
What can young, talented musicians learn from the ZKP’s professionals?
We target outstanding professional musicians who have earned a master’s degree in Switzerland. Their skills as orchestral players are specifically developed. The young people we support have grit: they want to achieve something, audition to become regular members, and quickly learn from their older colleagues.
How, in your view, can enthusiasm for classical music and its works be kept high in the future, and what role do your concerts play?
I don’t know. We primarily play for our musicians, who are nurtured through our concerts. Of course, we also need concertgoers to fill the halls. Empty concert halls are not motivating.
Concert calendar of the Zurich Chamber Philharmonic
You regularly support young, talented musicians from around the world with the ZKP. What fascinates you most about working and exchanging with other cultures?
I’m delighted by the friendships that develop and solidify among musicians from different countries. There’s an excellent atmosphere in the ZKP. The musicians are helpful, look out for one another, and don’t push themselves to the forefront. Everyone wants to give their best and shares in others’ joy over a beautifully shaped phrase. Musicians who think they know everything better and otherwise stand out negatively are no longer called up. A good atmosphere is essential for high-quality music-making.
What do you think are the biggest challenges for musicians today? What important contribution does the ZKP make to improving the situation?
For foreign musicians: ensuring they receive enough performance opportunities before being appointed to a renowned orchestra, and that they are paid appropriately for them. For Swiss musicians: that they develop more grit.
Why do you think foreign musicians have more grit than Swiss musicians, and how does this show in the ZKP’s day-to-day life?
Swiss universities admit only the very best—and these are hardly ever Swiss anymore. For many foreign musicians, the profession is tied to social mobility; in Switzerland, young people are significantly more comfortable.
Many musicians work portfolio careers: they teach, work in schools, and play in orchestras. How do you think these activities enrich each other?
Before being appointed to a renowned orchestra, young professional musicians often have no other option: they have to earn a living.
What important projects are planned for 2025, and which goals have you not yet achieved with the ZKP?
In October, we will perform Beethoven’s Symphony No. 9. Arranging my succession as artistic director and fundraiser is my most important goal, which I am trying to achieve by all possible means.
Where would you like to see the ZKP in 20 years?
As I am over 80 years old, this question should be addressed to my successors. Perhaps the ZKP will no longer exist by then, because the money has run out in the meantime, or no succession could be established. It would be wonderful if it continued, as one of the leading professional project orchestras, to support young professional musicians in a way unique in Europe, but unlike today, with high name recognition, correspondingly greater public funding, and appearances at festivals and in concert series of municipal presenters.
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