Artist Profile: John Walz
John Walz is a celebrated soloist and chamber music artist, known for his dazzling virtuosity and elegant musicianship. A student of the legendary French cellist, Pierre Fournier, he has appeared as soloist with more than – symphony orchestras on 4 continents. His performances of 25 different concertos include both standard showcases and rarities like Martinu’s Concerto #1 and William Schuman’s Song of Orpheus.
In 1979, John, along with pianist Edith Orloff, founded the Pacific Trio. Edie is also a Pacific Serenades musician, performing on our concerts in March. “Edie and I have played over 1000 concerts together as a trio,” John said. “She and I go back to 1973 when we started playing together, so we’re coming up on 40 years as dear friends and colleagues. In 2000, when we needed to make a change of violinists, Roger Wilkie was our first, and really only, choice,” John shared with me. Roger is also a Pacific Serenades regular, performing with us since 1989. He’ll appear on two concerts this season.
In addition to his solo and chamber music career, John is currently the principal cellist with the LA Opera, a position he also held for 20 years with the Long Beach Symphony. “I love orchestral playing,” John says. “I’ve had a wonderful career as a principal cellist, beginning with the American Youth Symphony, then Pacific, Glendale, and Long Beach Symphonies, and the London Philharmonic. After 30 years of symphonic repertoire, it’s really a joy to now have that position with the LA Opera. Opera is a very different animal, but equally exciting and rewarding. Playing the Ring Cycle three years ago remains a highlight of my musical life–it really is the Mount Everest of orchestral playing.”
Pacific Serenades’ February program is a unique selection of all-cello music. “I’ve played many cello ensemble concerts,” John explained. “There is a large amount of music written for multiple celli–for a number of reasons. Firstly, the cello is one of the only instruments that actually sounds good in multiples, because of the huge range and rich sonority. Also, cellists tend to be extremely collegial within our own ranks. In addition to music written expressly for multiple celli, by Villa-Lobos for example, there are also many brilliant transcriptions of standard pieces.”
Part of the Pacific Serenades mission is to present chamber in intimate settings. “I love playing in intimate settings!” John was quick to comment on the topic. “The communication between performer and audience members is palpable in a way that can’t be attained in a large hall. I think performers feel freer and play with more abandon when not feeling the huge pressure of a concert hall setting. This is the way much of this music was intended to be experienced.”
About our upcoming concerts, John expressed to me, “I am extremely excited to be playing with my colleagues on this series. I’ve known all three of them for a long time, and in different ways. David Speltz and I studied with the same teacher, and I’ve known him since I was 16. We’ve also taught together for decades at the Idyllwild Arts Summer Program. Eugene Friesen and I shared a stand together in the American Youth Symphony (conducted by the great Mehli Mehta) back in the mid ’70s, and Giovanna Moraga was my student and is now one of my most esteemed colleagues. This series of concerts will be pure joy!”
