The Aeolus at Twenty: A Conversation with Sieghardt Rometsch

For two decades, the International Aeolus Competition for Wind Instruments in Düsseldorf has stood as a bastion for emerging talent.

Founded by Sieghardt Rometsch, the competition has carved out a unique niche in the musical landscape, focusing exclusively on the diverse world of wind instruments. We sat down with Mr. Rometsch to discuss the vision behind this remarkable endeavor, the challenges of fostering young talent, and the enduring impact the competition has had on the global stage.

WFIMC: Mr. Rometsch, your transition from a career in finance to becoming a pillar of the music world is unusual. What inspired you to launch the Aeolus Competition in 2006?

Sieghardt Rometsch: It was a matter of looking for a meaningful purpose after my retirement. I didn’t want to spend my days on golf courses or cruises. Music had always been the most significant passion of my life. I consulted with various luminaries—rectors of music academies, figures from the ARD Competition—and they agreed that a specialized competition would fill a real void.

Looking at the landscape at the time, there were dozens of piano and violin competitions, but very few dedicated to wind instruments. As a man of business, I saw a niche. I founded a foundation to support talented young musicians, a way of giving back for the fortunate circumstances of my own life.

How did you build such a world-class institution from scratch?

The beginning was not straightforward. I assembled a group of advisers, but I chose the wrong people, and that did not work out. The decisive encounter happened in Dresden, where a clarinet quartet from a specialist music school performed at a foundation meeting. Afterwards, I asked the young players whether they all hoped to study with Sabine Meyer. They said, “No, we want to study with Ralf Manno.”

I did not know him, but fortunately he was a professor in Cologne, so I invited him to lunch. At first, he told me he would not become involved. We nevertheless had a very good conversation, and by the end he said, “When I see that you are doing all this with your own private resources, I think it is such a wonderful initiative that I will help you.” That was a Monday. By Friday, we had Dag Jensen for bassoon, Sharon Kam for clarinet, Daniel Gauthier for saxophone, and Manno himself. Within four days, we had a world-class jury. I learned early on that success in this field is very much about knowing who to call. Crucially, I sought the partnership of the Düsseldorfer Symphoniker and the Robert Schumann Hochschule. They became—and remain—the true home of the competition. By anchoring the competition within a premier educational institution, we ensured both artistic integrity and structural stability.

WFIMC: Why was the partnership with Düsseldorf’s musical institutions so important?

I first approached the Tonhalle, where I was already known through my involvement with its supporters’ society. They were willing to participate with the Düsseldorfer Symphoniker. Then I approached the Robert Schumann Hochschule, which agreed to become the competition’s home. It remains its home today. I organise and finance the competition, but the Hochschule provides the institutional foundation behind it.

From the beginning, I also arranged for Düsseldorf’s head of cultural affairs and the rector of the Hochschule to serve on my foundation’s board by virtue of their offices. That embedded two important cultural institutions in its structure.

Individuals can initiate things, but institutions provide continuity. In music, of course, exceptional personalities can have enormous influence. Yet if you want to build something durable, you need a structure that does not depend on one person alone.

WFIMC: Aeolus covers nine instruments, with each returning every three years. What was the thinking behind that cycle?

The ARD Competition was a major model for me. I studied in Munich and attended it as a student in 1960 and 1961. But a particular wind instrument might appear there only once every five or six years. A musician could potentially go through their studies without having the opportunity to enter. We wanted to offer something more frequent: nine instruments, with three featured each year, so that every instrument returns after three years.

That means a young musician can come at 17, return at 20, and perhaps win at 23. We have seen that kind of development. The flautist Matvey Demin is an example of someone who returned as he progressed.

For the participants, knowing that another opportunity will come within three years is important. They can measure themselves against an international field, continue developing, and come back. The competition becomes more than a single, unrepeatable chance.

WFIMC: What did the early editions teach you about looking after the musicians properly?

One very practical lesson concerned the pianists accompanying the competitors. Initially, there was an assumption that a music academy with so many excellent pianists and professors would have no difficulty providing accompaniment. But being an excellent pianist does not automatically mean being equally familiar with the repertoire of every wind instrument. Accompanists also specialise. Someone experienced in clarinet repertoire may not have the same familiarity with trombone or tuba repertoire.

We encountered considerable difficulties in the first competition and learned from them. Afterwards, we began engaging accompanists who worked with members of the jury and knew the relevant repertoire.

Another challenge was the requirement to perform from memory in the prizewinners’ concert. Some excellent competitors had prepared the competition repertoire thoroughly but were less secure when it came to playing that final work from memory. We subsequently introduced written confirmation at the third-round stage that participants could meet the requirement. Organising a competition means learning from such experiences and making the expectations clearer. 

WFIMC: When the jury listens, what matters most?

Our first criterion is artistic personality. Then comes the quality of interpretation, followed by technical proficiency.

That order is important. We want to recognise the musician, not simply the instrumental facility. One thing that surprised me through conversations with other competitions was that some had no explicitly formulated assessment criteria. For us, it is important to articulate what we are looking for. The same applies to the repertoire. A demanding programme establishes the level of the competition. It encourages applications from musicians who have already reached a certain stage of preparation and are ready for the challenge.

WFIMC: What role has the World Federation played in the competition’s development?

It began very practically. Ralf Manno told me that when he encouraged his students to enter Aeolus, they asked whether it belonged to the World Federation. That showed me how much membership mattered to young musicians.

The annual meetings then became enormously valuable opportunities to learn. The world of competitions was new to me, and suddenly I could discuss its central questions with people who had years of experience.

How should applications be assessed? What are the advantages and disadvantages of audio or video selection? How do differences in recording equipment affect fairness? What voting system should a jury use?

These are not abstract issues. You return home with concrete ideas to discuss and, where appropriate, try out.

Just as the young musicians want to improve, we should want to become better at organising competitions. The meetings encourage you to question established practices rather than assume that the way you have always done something must be the best.

Reflecting on 20 years, how has the competition evolved, and how has it influenced the careers of its participants?

Technologically, the shift has been immense—from mailing physical dossiers to the digital-first world of today. But artistically, the core remains the same: discovery. We are a platform where industry professionals listen carefully. For those who participate, it is often the foundation for a professional career.

We take great pride in seeing our alumni secure positions in the world’s finest ensembles. Just consider a few examples: Matthias Schorn, a laureate from our inaugural 2006 competition, is now the solo clarinetist with the Vienna Philharmonic. Jonathan Ramsay, from the 2019 cohort, plays with the Berlin Philharmonic, while Polina Tarasenko (2023) holds a position with the Gewandhausorchester Leipzig. We’ve seen winners like Matvey Demin join the SWR Symphony Orchestra and Andrea Cellacchi become part of the Royal Concertgebouw Orchestra.

What is your vision for the future of the Aeolus Competition?

That is a question I ponder, especially given my age. The goal is sustainability. The foundation is designed to be operatively active, and our board is composed of individuals from both the musical and economic spheres to ensure the competition remains well-managed and financially secure. As one of our esteemed jurors, Ian Bousfield, recently remarked, we have the privilege of witnessing the start of truly brilliant careers. That privilege is what we aim to preserve for the next generation of wind players.

About the Aeolus Competition

Founded in 2006, the Aeolus International Competition for Wind Instruments takes place annually in Düsseldorf, Germany. It serves as a vital platform for young wind soloists (flute, oboe, clarinet, bassoon, saxophone, horn, trumpet, trombone, and tuba) to launch international careers. The competition is held at and in partnership with the Robert Schumann Hochschule Düsseldorf and the Düsseldorfer Symphoniker.

© WFIMC 2026 / FR