Classical music for some, electronic for others: At the ‘Visions of Classical Music—Trans-Classics X’, two interest groups met on the Eggli and expanded each other's horizons. Applause and a dancing crowd proved that the ‘transfusion’ worked.

From quiet clapping to applause with shouts and cheers to a dancing crowd: does this sound like a classical concert at the Gstaad Menuhin Festival & Academy? It was rather unusual, but it was a fact: the event ‘Visions of Classical Music – Trans-Classics X’ on the Eggli – organised in collaboration with Plausch Events – built bridges between two groups of people who were united by one thing at the end: a passion and enthusiasm for music, regardless of genre.

A string concert of a different kind
The evening began with lyrical and dramatic sounds from the Vision String Quartet, which performed pieces by Ernest Bloch and Dmitri Shostakovich. The impressive thing was that they did it without sheet music and standing up. The tension in the tent on the viewing terrace of the Eggli was palpable; the audience was quiet and attentive. Classical music lovers enjoyed the professional performance, while electronic music fans took themselves on a journey. After a short break, the quartet returned to the stage and got down to business. They presented jazz, folk and improvisations from their album ‘Spectrum’ – all original compositions. They used the violin, viola, and cello versatilely for each new performance, creating unconventional melodies and making different images flash before the audience's inner eye. Sometimes gentle and dreamy, occasionally rocky and groovy, or even melancholy and thoughtful.

The four musicians from Berlin entertained the audience with their amusing anecdotes and explanations of compositions and playing techniques.

Clear the chairs, and get on the dance floor
Then came the moment everyone had been waiting for. While the Vision String Quartet presented its last piece, DJ and e-violinist Seth Schwarz prepared to take over seamlessly. At the same time, the festival staff cleared away the chairs, and the dance floor was free. There was no sign of the fear of contact that can be seen at school dance events, where nobody dares to enter the dance floor: the people gathered in front of the DJ set, and everyone was represented among the audience – including those who had travelled to the festival for the quartet.

With his wife, who accompanied him on vocals, Seth Schwarz offered a live performance in which he blended classical elements with electronic beats. Pop, poetic, or electrifying, the concert had something for everyone. The dancing crowd radiated enthusiasm—and all this on a Wednesday evening.

Yannic Schwenter is Blending Beats and Strings:
“My parents' friends asked me to invite them to the next Plausch-Rave”
 
A Unique Collaboration Between the Gstaad Menuhin Festival and Plausch Events
In a groundbreaking fusion of classical and electronic music, the recent "Trans-Classic X" event at Eggli Berghaus captivated audiences with its innovative blend of genres. The collaboration between Plausch Events and the Gstaad Menuhin Festival brought together a diverse crowd, from classical music aficionados to electronic dance enthusiasts. Yannic Schwenter of Plausch Events shares insights into how this unique event came to life, the challenges and triumphs along the way, and the unexpected connections that made it all possible.

A Fusion of Genres: The Trans-Classic X Experience
Reflecting on the event's success, Yannic Schwenter was fascinated by how seamlessly the fusion of classical and electronic music worked. "It was incredible to see how different groups of guests were drawn into the experience," he recalls. Young attendees, who may have been new to classical music, found themselves captivated by the Vision String Quartet's performance of pieces by Bloch and Shostakovich. Meanwhile, older guests, who had come for the classical concert, stayed for the DJ set by Seth Schwarz and were pleasantly surprised by the mix of genres.

The atmosphere was relaxed yet charged with excitement, a balance that was no accident. "Even if an event is well planned, a lot depends on the artists," Schwenter notes. The fact that the Vision String Quartet and DJ Seth Schwarz both hail from Berlin added a layer of familiarity that translated into a smooth collaboration. Schwenter fondly remembers seeing the artists celebrating together after the event, a testament to the developed camaraderie.

Bringing the Idea to Life: A Collaborative Effort
The collaboration between Plausch Events and the Gstaad Menuhin Festival began with a shared vision. Inspired by an event where a DJ performed with an orchestra, Schwenter and his team approached the Menuhin Festival organisers to create a similar experience in Saanenland. "They were open to our idea because they were also exploring transformative approaches," Schwenter explains. The Eggli was suggested as the venue, and the collaboration took off from there.

Working with the festival organizers was a positive experience for Schwenter and his team. "The exchange was relaxed, with a mix of online calls and WhatsApp chats," he says. The support from Bergbahnen Destination Gstaad AG, which provided a weatherproof location, was also crucial to the event's success.

A New Approach to Event Planning
Organising a fusion event like Trans-Classic X brought its own set of challenges and learning opportunities. Schwenter observed differences in how classical and electronic concerts are traditionally organised. For example, it’s customary at the Menuhin Festival to present artists with a local gift, such as a jar of honey. This personal touch stood out to Schwenter, highlighting the Menuhin Festival’s emphasis on creating a connection with the Saanenland region. "That's very nice, and we want to live these values even more in the future," he says.

Despite their different backgrounds, the teams from Plausch Events and the Menuhin Festival found common ground in their desire to create something unique and meaningful. "We showed great openness and motivation," Schwenter reflects. "The team of the Gstaad Menuhin Festival showed great courage, and it was worth it."

A Personal Connection to the Festival
For Schwenter, the Trans-Classic X event held special significance. Having started his career with an apprenticeship at Gstaad Saanenland Tourism, where he once sold Menuhin tickets at the counter, co-organizing this event felt like a full-circle moment. "If I had known then that I would one day be co-organizing one of these events, I would never have imagined it," he says with pride.

Though Schwenter doesn't play an instrument himself—despite a brief stint with a drum kit as a child—his passion for music is evident. Whether singing along at concerts or organising events that push the boundaries of traditional genres, his love for music shines through.

The success of the Trans-Classic X event has opened the door to new possibilities, and Schwenter is excited about the future. With Plausch Events committed to blending different worlds, there's no telling what innovative experiences they might bring to Saanenland next.

For more information on Plausch Events, visit.

Ahead of his highly anticipated performance at the "Mountain Spirit" concert at Eggli Berghaus, we met with DJ and electronic violinist Seth Schwarz to discuss his innovative fusion of classical and electronic music and his debut at the prestigious Menuhin Festival.

Mountain Spirit Resonates with Seth Schwarz:
“I didn't realise at first that it was a purely classical festival.”

It seems more common for electronic festivals to invite artists who blend electronic and classical music than for classical festivals to do so. Is this changing, and how do you see it evolving?
I think it’s an excellent development, and I’m really excited about it. This is actually my first time being invited as an electronic music artist to a classical music festival, and it’s a thrilling experience. It’s a brilliant way to expand the auditory horizons of an audience that might be more accustomed to sitting and listening rather than moving to the music. I feel very at home in this crossover space, and I’m hopeful we’ll see more of this after the Menuhin Festival sets the stage.

How did the collaboration with the Menuhin Festival come about?
It started with a request, and when I saw the name Menuhin, I immediately resonated with it—of course, knowing the legendary artist. But I didn’t initially realise it was a purely classical festival. The involvement of Plausch, a well-known festival and rave organiser, made it clear they were pursuing something truly unique. I felt deeply honoured to be invited to contribute to this crossover project.

Do you think this trend is part of an effort to attract younger audiences to classical music festivals?
Definitely. Classical music typically draws a more mature, sophisticated audience. But by integrating electronic music—which is currently the fastest-growing genre worldwide—festivals can extend an invitation to a younger crowd. Today, with the tools available, anyone can start producing music at home. I would have loved such opportunities when I was younger. Blending these two worlds not only enriches the festival experience but also opens doors for future generations of musicians and listeners.

What’s your personal journey with classical music? When did it first captivate you?
My journey began with the violin at the age of seven. I vividly remember attending an open day at a music school. I explored every room, but it was the sound of the violin that truly captivated me. From that moment, I was hooked and began learning the instrument. Though my path took me into medicine for a time, I eventually found my way back to music, particularly electronic music. Festivals like Fusion introduced me to the genre, and over time, I realized that merging my classical roots with electronic elements was the direction I wanted to pursue.

How do you find the right balance between classical and electronic music, ensuring both genres are respected?
It’s all about finding harmony between the two. Early in my career, I was tempted to overlay the violin on every beat, but I quickly learned that with electronic music, less is often more. The music needs space to breathe. It’s important to know when to step back and let the electronic elements take center stage, and when to let the violin shine. It’s a balance that comes with experience—feeling the rhythm, sensing the drops, and using improvisation to decide when the violin’s presence will make the most impact. When the moment is right, I fully embrace it.

Are there any composers who particularly inspire you in your work?
I’m particularly drawn to B. Svensson. Although his work isn’t strictly classical, he brilliantly incorporates elements from various cultures—classical music, film scores, Gregorian chants, and more—creating an almost psychedelic blend. We even collaborated on a track called "The Bartender," which showcases a mix of different techniques and recording styles. His ability to weave these elements together has been a significant inspiration for me.

Your latest single, "Radiate Love," seems to embody a special energy. Do you aim to share a particular feeling or energy with your audience during your performances?
Absolutely. "Radiate Love" reflects what I strive to convey on stage. Recently, I had the opportunity to give a master class on arranging strings for dance music during Zurich Music Week, and it all came together beautifully. We all have our shadow sides, but when I’m on stage, I focus on embracing happiness and radiating love. We’re all beings of light, and when we shine together, we can truly make the world a better place. Here in the mountains, the energy is incredible—the sun breaking through after the rain is just the perfect metaphor for the concert we’re about to share.

Follow VisionStringQuartet on Instagram       Follow Seth Schwarz on Instagram
 

A Night to Remember
The "Visions of Classical Music—Trans-Classics X" event at Eggli Berghaus was more than just a concert; it was a groundbreaking fusion of genres that captivated all attendees. By seamlessly blending classical and electronic music, artists like the Vision String Quartet and Seth Schwarz set a new standard for future musical collaborations.
 

Based on AvS | JOP | Interview by Victoria Martin
All photos by THERESA PEWAL