Sergey Khachatryan on the ‘Kiesewetter’:

“I am filled with happiness to play my new, beautiful ‘Kiesewetter’ Stradivari. It has an outstanding range of colors with unique brilliance, a low register with powerful depth, and yet a sound with carrying sharpness. I am very much looking forward to the exciting journey with this new voice of expression in and feel deeply honored by the generous support of the Stretton Society.”

Sergey Khachatryan rose to international prominence by winning the Jean Sibelius International Violin Competition in Helsinki at the age of 15 – the youngest laureate in the competition’s history – and later claimed First Prize at the prestigious Queen Elisabeth Competition in Brussels. Known for his deep musical insight, he has since performed with the world’s leading orchestras and conductors, earning a reputation for his intensity, refinement, and unmistakable voice.

About the ‘Kiesewetter’ 1724

The ‘Kiesewetter’, named after 19th-century German violinist Christoph Gottfried Kiesewetter, is steeped in legacy. Over the past two decades, it has been played by legendary violinists Maxim Vengerov and Augustin Hadelich in some of the most iconic performances and recordings of our time.

Among these, one stands out as a landmark in the history of violin playing: Maxim Vengerov’s performance of the Sibelius Violin Concerto with the Chicago Symphony Orchestra under Daniel Barenboim at the Kölner Philharmonie during the MusikTriennale Köln in 1997. As an encore, Vengerov performed Eugène Ysaÿe’s Ballade – both works played on the ‘Kiesewetter’, revealing the violin’s extraordinary capacity for both grandeur and introspection.

Maxim Vengerov with the ‘Kiesewetter’ Stradivari alongside Sting and Elton John at the Grammy Awards in 1996

Watch Maxim Vengerov on YouTube

Paul Belin
Violin Maker

Under the artistic direction of one of the world's finest luthiers, Paul Belin, Stretton Contemporary was born from the desire to make the excellence of the greatest 18th-century instruments more accessible to young musicians. Crafted as bench inspirations of iconic examples from the Stretton Collection, these ¾ and ⅞-size instruments are tailored to the needs of children aged 9 to 13—offering them the same standard of sound and craftsmanship that defines the rare masterpieces loaned through the Stretton Society. It is a commitment to nurturing talent from the very beginning, ensuring that the next generation can embark on their musical journey with instruments that truly support expressive playing and artistic growth.

“It’s for the kids! Imagine a ¾-size ‘bench inspiration’ of Fritz Kreisler’s Antonio Stradivari or a ⅞ version of Paul Tortelier’s Tassini cello. It’s not only incredibly charming, it’s deeply meaningful. This project is truly one of a kind: a commitment to supporting the next generation of classical musicians through access to exceptional craftsmanship and sound.”

Stephan Jansen, Co-Founder, Stretton Society

Matthias Schulz
General Director, Zurich Opera House

This cooperation—supporting the youngest musicians through the Kinderopernorchester and enabling excellence among professional musicians of the Zurich Opera Orchestra through long-term instrument loans—is reflected in the voices of those who shape and guide it:

“The cooperation between the Zurich Opera House and the Stretton Society marks a significant step in promoting young musical talent and access to high-quality instruments. By providing excellent ¾ and ⅞ violins inspired by Stradivari, Guarneri, and other important violin makers, we open up new sonic horizons for our youngest musicians. This initiative sharpens perception, deepens their understanding of craftsmanship, and supports the next generation of artists with the best possible conditions. Together, we are preserving cultural heritage, promoting accessibility, and investing in the future of classical music.”

Matthias Schulz

Furthermore, earlier this year, the Stretton Society placed an exceptional violin by Stefano Scarampella, Mantua c. 1910, on long-term loan by a generous member of the Stretton Society to the concertmaster of the orchestra of the Zurich Opera House, Xiaoming Wang.

About 
Stefano Scarampella
1843–1925

Stefano Scarampella is regarded as one of the most important violin makers of the early 20th century. Although he came to violin making relatively late in life, Scarampella developed a style that was bold, direct, and full of personality. His instruments are known for their powerful tone, spontaneous craftsmanship, and striking varnish. Scarampella worked in near-total isolation in Mantua and lived a modest life, yet left behind some of the most sought-after violins of his generation. His instruments are often seen as the youngest viable rivals to those of the classical Cremonese masters. The violin on loan to the Zurich Opera House is a striking example of his mature work around 1910 and has still an incredibly plentiful coating of the maker’s finest rich red varnish. 

Stefano Scarampella
Violin 
Mantua c. 1910

About
Lorenzo Storioni

Lorenzo Storioni (1744–1816) was the last towering figure of classical Cremonese violin making. Born long after the golden age of the Amatis, Guarneris, and Antonio Stradivari, he found himself in a city where violin making had all but disappeared. Yet rather than following in anyone’s footsteps, Storioni forged a path of his own—drawing inspiration from the past while creating instruments that were deeply personal, expressive, and uncompromisingly built for sound.

Though he worked more than a generation after the great Cremonese masters, Storioni’s instruments often feel closest in spirit to those of Giuseppe Guarneri ‘del Gesù’. Like del Gesù, he wasn’t concerned with visual perfection—his scrolls are sometimes eccentric, his f-holes uneven—but his instruments have a raw beauty, individuality, and intensity that speak directly to musicians.

Storioni revived violin making in Cremona at a moment when it could easily have vanished. His instruments—few in number, bold in character—have been played by some of the greatest musicians of the 20th century, including Mstislav Rostropovich, who owned a powerful Storioni cello, and Arnold Steinhardt of the Guarneri Quartet.

Today, one of Storioni’s finest surviving violins is in the hands of Maria Ioudenitch—a warm, clear, and soulful instrument that perfectly matches her expressive voice. This violin is also featured in Dimitri Gindin’s The Late Cremonese Makers as one of the highlights of Storioni’s extraordinary legacy.

A conversation about sound, identity,  and the voices of the past and the future

"This violin has a soul of its own – there is warmth, depth, and a kind of aged elegance in the sound"

Maria, we’re delighted to welcome you to the Stretton Society. What does this new chapter mean to you?

Thank you! I’m deeply grateful to be part of this community of passionate supporters, music lovers, and wonderful artists—not to mention being surrounded by a “family” of gorgeous instruments!

You were raised in a musical household. How did that shape you?

Music was always present. Both of my parents are pianists, so I grew up with that sound around me. My mom often tells the story of playing Glenn Gould’s Bach recordings while I was in the womb to calm me down—and it worked every time. Johann Sebastian Bach has been a love ever since.

Importantly, my parents never imposed a vision of what kind of artist I should become. They kept me disciplined, of course, but gave me the space to find my own path. That combination—their belief in music’s value and their trust in my autonomy—gave me a deep and healthy love for creating art.

Your repertoire spans from Schubert to Gershwin to Boulanger. How do you approach programming?

I focus on two things. First, I try to create a journey through sound—contrasting textures and emotional colors: shimmering bird calls, rhythmic drive, lyrical melodies.

Second, I love giving a voice to overlooked repertoire—whether forgotten miniatures from the Golden Age of violin playing (just look at the programs of Joseph Szigeti, Jascha Heifetz, or Nathan Milstein!), or music unjustly neglected due to prejudice. I don’t believe in ticking boxes for the sake of it—I believe in meaningful integration. I also care deeply about championing contemporary voices—they are our future.

Tell us about your Storioni. What has it been like to get to know this instrument?

Honestly, it’s been magical. This violin has its own soul—warm, complex, and dignified. It also has a big personality, which hasn’t made the adjustment easy—and I take that as an honor. The challenge pushes me to explore, to listen more deeply. Every day reveals new colors, new nuances. It’s a privilege and a responsibility to bring its voice to life.

Where are you currently based?

Berlin is my home base, but whenever I’m in the U.S. for concerts, I try to visit my family in Kansas City.

What’s next in your season?

This summer is filled with chamber music festivals in England, Germany, and the U.S., with a recital at the Solsberg Festival in Switzerland on June 30. In September, I return to a full schedule of concertos, recitals, and festivals — including Henryk Wieniawski’s Concerto No. 2, Alexander Glazunov, Sergei Prokofiev’s Concerto No. 1, Felix Mendelssohn, and Johannes Brahms.

Maria, thank you for this inspiring conversation. We are so pleased to have you with us and can’t wait for your Stretton debut.

Thank you—I look forward to it with all my heart!

Welcome Jessica von Wrede—
Stretton Society’s 
New General Manager

We are excited to welcome Jessica von Wrede to the Stretton Society as our new General Manager, effective May 1, 2025. In this key leadership role, Jessica will oversee the Society’s operations and strategic development. As the central point of coordination, she will work closely with the Board of Directors Stephan Jansen and Maximilian von Schierstädt to help shape and advance the Society’s long-term vision.

Jessica brings a distinguished background in project management, organizational development, and high-level event execution. During her tenure at the U.S. Embassy in Berlin, she led the planning and delivery of the inauguration ceremony for the new embassy building. She subsequently spent a decade at the American Academy in Berlin, playing a central role in the institution’s structural reorganization as Trustee Relations Manager. Most recently she joined the Robert Bosch Foundation as Director of Events, where she was responsible for the foundation’s entire event portfolio. In addition to her institutional experience, Jessica founded and successfully ran her own company, offering white-glove relocation services to international clients relocating to Berlin. 

Jessica holds a Master’s degree in Museum Studies from the University of Sydney.  A native of Berlin and an Australian citizen, she brings a global perspective deeply rooted in local expertise. A hands-on leader with deep experience in complex, high-profile projects, she is already making meaningful contributions to the Stretton Society—and is eager to embark on this new chapter. We are delighted to open the next chapter of the Stretton Society with her.

Maximilian von Schierstädt and Stephan Jansen are especially looking forward to working closely with Jessica and to incorporating her strengths as they pursue the mission of the Stretton Society. Together, they are committed to building a resilient, purpose-driven organization grounded in collaboration and a shared vision. Jessica will also be present at Stretton’s Summer Edition Concerts on June 14 at the Eibenhof Estate, offering members and artists the opportunity to meet and welcome her in person.

We would also like to take this moment to share that Annetin Knahl will begin her maternity leave on June 20, 2025. While we greatly look forward to her return, we would like to express our sincere gratitude for her outstanding dedication and exceptional work throughout her tenure.

Dear members, dear friends of the Stretton Society,  

it is with immense joy and great admiration that we introduce the exceptional violist Noga Shaham, who made her dazzling and profoundly moving debut with the Stretton Society on February 28, 2025, as part of this year’s Stretton Winter Festival in the picturesque setting of the Engadine.

During the enchanting concert on Friday evening at the San Gian Church, Noga captivated the audience alongside the esteemed Leonhard Baumgartner, Darius Preuß, Sara Ferrández, and Benjamin Kruithof. Together they performed two of the greatest masterpieces of chamber music, Mozart’s String Quintet No. 4 in G minor, K. 516, and Brahms’ String Quintet No. 2 in G Major, Op. 111.

With a rare depth of musicality, a rich and nuanced tonal palette, and an expressive intensity that resonated in every phrase, Noga’s performance was a revelation. Her seamless interplay with her fellow musicians, coupled with an individual voice of striking clarity and warmth, created an unforgettable musical experience that left a lasting impression on all who were fortunate enough to witness this extraordinary debut.

Following her impressive concert in St. Moritz, some Stretton members had the opportunity to get to know Noga better during the post-concert dinners – one of the unique aspects of the Stretton Society, which fosters direct interaction between musicians and audience members. 

We also took the opportunity to speak with her about her music and impressions:

Bettina Wacker: Noga, your debut at the Stretton Winter Festival in the Engadine was a great success. How did you experience the concert in St. Moritz? 

Nogas Shaham: It was simply wonderful! The atmosphere at San Gian Church is unique – the acoustics, the audience, the winter scenery. And, of course, it was a joy to perform some of my all-time favorite pieces – Mozart’s and Brahms’ quintets – with my fellow Stretton musicians. I consider this music to be the spiritual pinnacle of our entire repertoire as classical musicians. It has so much depth and emotional intensity; it truly transforms you as a performer. 

You perform on many international stages. What does playing chamber music mean to you?

Chamber music is the most intimate yet demanding form of performance. You communicate on a very special level – it’s almost like a conversation without words. I love being in this close musical dialogue, responding, and creating together. 

Could you tell us a bit about the viola you are currently playing?

Of course! This viola is quite an interesting instrument, though its origins remain unidentified. It is likely an anonymous old German, Austrian, or Italian viola – perhaps even crafted by a peasant. It belongs to my father, a professional violinist, who inherited it from a friend many years ago. While I love its deep and resonant sound, its unusual proportions, including particularly wide shoulders, make it physically uncomfortable and challenging to play. Most importantly, it lacks a certain brilliance and projection – qualities I find essential, especially since I regularly perform alongside some of the finest instruments in the world…

… which is why we at Stretton are actively searching for a new instrument for you – one that will optimally support you on your artistic journey.

That would be amazing! I am truly grateful and honored to receive support in my search for a new viola – one that will hopefully become my trusted companion for years to come.

Stretton is unique in that artists are not just part of the program but part of the community. Members and musicians interact directly. How did you experience this?

I absolutely loved it! During the dinner after the concert, I had many truly wonderful conversations with Stretton members. I personally believe this is one of the greatest rewards an artist can receive in return for giving their heart on stage – connecting and exchanging thoughts with the audience afterward. Discussing the music, hearing their opinions and emotions, and getting to know each other better – it was all very special. The Stretton Society creates such a warm and personal atmosphere, where musicians feel genuinely welcome. It was fascinating to hear the audience’s impressions and to share a little about my own musical journey – especially in such a cozy setting like the Clavadatsch Mountain Lodge. 

What are your plans and upcoming projects?

In the coming months, I will be performing a series of solo recitals and chamber music concerts across Europe, as well as participating in some wonderful summer festivals with long-time friends and colleagues. And, of course, I hope to return to the Stretton Society very soon! 

After this wonderful debut, we are thrilled to see and hear you at many more Stretton events, dear Noga – at the latest at the Stretton Autumn Festival in Vienna. Until then, we wish you many inspiring musical experiences and eagerly look forward to seeing you again soon!

At the start of the year, Darius captivated audiences in his hometown of Bochum with a series of extraordinary performances. The Bochumer Symphoniker’s New Year’s and New Year’s Eve concerts showcased an ambitious and unconventional program, highlighting the young virtuoso. The press responded with enthusiasm. With sold-out halls and a program designed to push boundaries, Darius proved himself to be one of the most exciting young musicians of his generation.

Born in 2004 to German-Persian parents, Darius began playing the violin at just four years old and has been studying at the prestigious Hanns Eisler School of Music in Berlin since 2022. A laureate of numerous national and international competitions, Darius is quickly making a name for himself. Now, as an xMP mentee, Darius continues to pursue his artistic path with passion and determination. 

Bettina Wacker talked to him about his goals, big dreams, and the challenges that lie ahead.

Aram Khachaturian (1903–1978) was an Armenian composer and conductor who is considered one of the most prominent representatives of Soviet music in the 20th century. Born in Tiflis, in present-day Georgia, Khachaturian grew up in a culturally rich environment that later influenced his works. His musical output is characterized by a blend of Western classical traditions and traditional Armenian folk melodies, which gave him a unique position within the Soviet music scene. He was renowned for his vivid, expressive, and rhythmically powerful compositions. His Adagio of Spartacus and Phrygia from the ballet Spartacus and the Sabre Dance from the ballet Gayane are among the most famous and frequently performed pieces of 20th-century classical music.

Pyotr Ilyich Tchaikovsky, born in 1840 in Russia, is considered one of the great composers of the Romantic era. With works like Swan Lake and The Nutcracker, he shaped music history. His pieces combine Russian traditions with Western influences.

Jascha Heifetz, born in 1901 in Vilnius, Lithuania, is considered one of the greatest violinists of all time. Even as a child, he displayed extraordinary talent. His virtuosity and technical perfection set new standards.

Béla Bartók, born in Nagyszentmiklós in 1881, was a Hungarian composer and pianist. As a pioneer of ethnomusical research, he integrated folk songs into his works and created a unique musical language. 

Fritz Kreisler, born in 1875 in Vienna, was a legendary Austrian violinist and composer. His unique style and talent shaped the world of music. As a cultural ambassador, he remains an icon of classical music.

Henryk Szeryng, born in 1918 in Poland, was a renowned violinist known for his exceptional technique and profound musicality. His talent, honed by esteemed teachers, captivated global audiences. 

Leonidas Kavakos, born in 1967 in Athens, is a renowned violinist known for winning the Sibelius Competition and championing lesser-known composers, especially from Greece. He mentors the next generation of artists in the Stretton xMP.