On January 16, 2025, the Sustainable-EEEMERGING Ensembles met Verena Brecht (Weigold & Böhm International Artists & Tours GmbH), Andreas Braun (Konzertbüro Andreas Braun) and Artur Malke (Artur Malke Management / SONORA). The agents shared practical advice and personal experiences to help the young ensembles better position themselves in the market and connect with agents, promoters, and audiences…
Here are some of their most valuable lessons and advice shared during the session:
1. Understanding the Role of an Agent
Agents are more than just intermediaries. They provide a wide range of support, from securing concert engagements to managing logistics like travel, accommodation, and instrument rentals. They also handle relationships with promoters, ensuring that artists can focus on their music. As Verena Brecht noted,
“It’s about building long-term, trustful relationships with artists, tailored to their needs.”
However, they emphasized that agents are not miracle workers: collaboration between agents and artists is essential. As Artur Malke put it, “It must be a partnership. Without the artist’s active support and involvement, the collaboration cannot succeed.”
2. The Importance of Networking
All three agents agreed that building relationships is critical for success in the music industry. Artur Malke described networking as the cornerstone of every artist’s journey:
“Everything we do in our musical lives is about building relationships. If you stay in your rehearsal room, the audience will never find you.”
He encouraged ensembles to attend events, connect with promoters, and make the most of every opportunity to meet new people. Classical:NEXT, a major international conference, was recommended as an excellent starting point for artists looking to build their networks.
3. Standing Out in a Crowded Market
To gain the attention of agents and promoters, ensembles need to highlight their uniqueness. Andreas Braun emphasized the importance of having a “unique selling point”:
“I can’t take on another trio with violin, cello, and harpsichord unless they offer something special that sets them apart.”
This could mean focusing on a rare repertoire, an unusual combination of instruments, or a compelling artistic vision. Verena Brecht added that storytelling is key: “The promoter needs to sell your project to their audience. A strong, unique story makes all the difference.”. She also advised against generic mass emails: tailoring communication to specific agencies and individuals demonstrates effort and professionalism… And allows you to stand out!
4. Patience and Commitment
One of the recurring themes was the need for patience. Establishing a career in early music takes time, and success is rarely immediate. Andreas Braun reflected on his own experiences:
“Even if I am convinced that an ensemble is ready for a career, the market might not be. It takes years to build a name.”
For young ensembles, this means staying committed to their vision while being prepared to adapt as opportunities arise.
The ensembles participate in an online learning curriculum, made of workshops to help develop their ensembles as well as many opportunities to e-meet professionals in order to get a better understanding of the sector (promoters, agents, labels, etc.)
If you’re an early music ensemble looking to grow, please keep in mind that we have an on-going Call For Applications as we are looking for 10 new ensembles to support in 2026-2027. Click here to know more and potentially apply!
We will have an Online Information Session on the 11th of February at 11am (CET), if you have questions, you might find answers there! Click below to join.
