VIOLA

Whether leading the viola section of a German Youth Orchestra through a concert of Brahms in Istanbul, Turkey or leading a hundred teenagers through a discussion of the joys of new music at a charter school in LA, violist John Stulz (b. 1988) is quickly becoming recognized as a passionate ambassador for his art.

Whether leading the viola section of a German Youth Orchestra through a concert of Brahms in Istanbul, Turkey or leading a hundred teenagers through a discussion of the joys of new music at a charter school in LA, violist John Stulz (b. 1988) is quickly becoming recognized as a passionate ambassador for his art.

John regularly gives performances by the leading composers of our time both as a soloist and as a founding member of What’s Next? Ensemble in Los Angeles. Highlights include the West Coast Premiere of Elliot Carter’s Figment IV for solo viola, a performance with Steven Mackey of Physical Property for string quartet and electric guitar, as well as the opportunity to work closely with composers and performers as diverse as Pierre Boulez, George Benjamin, Steve Reich, and members of the Ensembles Intercontemporaine and Modern. In 2011, John studied contemporary European music intensively under the tutelage of Garth Knox, former violist of the Arditti Quartet and Ensemble Intercontemporaine.

With his friend Vimbayi Kaziboni, John helped create the What’s Next? Ensemble and the Los Angeles Composers Project, an annual festival devoted to presenting music by Los Angeles Composers. To date their initiative has brought together over eighty musicians to perform the work of thirty-five local composers, winning wide recognition from institutions ranging from KUSC Radio in Los Angeles and the American Composers Forum.

As an orchestral musician, John has served as principal violist of the USC Thornton Symphony Orchestera, Music Academy of the West Festival Orchestra, New England Conservatory Philharmonia, and the Shleswig-Holstein Festival Orchestra in Germany. With the later group he has toured across Germany and Europe under the baton of Christoph Eschenbach including performances in Krakow, Prague, Budapest, Istanbul, Grenada, Hamburg and Wiesbaden. In 2008, John made his solo debut playing the Walton Viola Concerto with the Music Academy of the West Festival Orchestra.

In 2010, John Graduated cum laude from the University of Southern California where he studied viola with Donald McInnes and served as a member of the contemporary music ensemble for four years under the direction of Donald Crockett. Additionally, John played for two years in a string quartet with Professor Midori Goto and studied composition privately with Erica Muhl and Veronika Krausas. He is currently living in Boston where he is pursuing his masters degree at the New England Conservatory of music studying under Kim Kashkashian.

Performances

Jordan Hall at New England Conservatory | January 27, 2012

News and Press

[Concert Review] Mandolin Power! And other Unexpected Delights

On Friday, January 27, the Boston Modern Orchestra Project (a.k.a. BMOP) presented Strange Bedfellows: Unexpected Concertos, showcasing instruments don't get to be concerto soloists as often as their ubiquitous cousins, like violin or piano. Here, the spotlight was on viola, electric guitar, mandolin, theremin and French horn. All but one of the pieces were written in the last six years, and together they showed that contemporary classical music is thriving — don't let anyone tell you different!

Miss Music Nerd Full review
[Concert Review] BMOP five concertos cover some brave, new frontiers

The Boston Modern Orchestra Project called its program of five "unexpected concertos" at Jordan Hall Friday "Strange Bedfellows." None (well, almost none) of the music induced slumber, however. Created for an odd array of solo instruments (viola, electric guitar, theremin, mandolin, French horn) accompanied by instrumental ensembles of various size and composition, the works prodded at the frontiers of traditional concerto form. Electronic and acoustic sounds engaged in conversation - sometimes in rancorous argument - across the centuries, forcing us to rethink this venerable genre.

The Boston Globe Full review
[Concert Review] BMOP Revitalizes the Concept of a Concerto Concert

Leave it to the Boston Modern Orchestra Project (BMOP) to completely revitalize the concept of a concerto concert. This past Friday night at Jordan Hall, the orchestra, conducted by music director Gil Rose, presented a thoroughly energizing and invigorating concert of five concerti written by composers born between 1923 and 1979.

Billed as Strange Bedfellows: Unexpected Concertos, the program featured concertos for, respectively, viola, electric guitar, mandolin, theremin, and horn.

The Arts Fuse Full review
[Concert Review] Oooh-weee-oooh: BMOP unveils a concerto for theremin, among works for other offbeat instruments

If you're one of those concertgoers who look forward most to the concerto, the Boston Modern Orchestra Project, led by its artistic director Gil Rose, had a concert for you Friday night at Jordan Hall.

Boston Classical Review Full review
[Press Release] BMOP Unites Five Varying Composers and Concertos for One Night

The Boston Modern Orchestra Project (BMOP), the nation's premier orchestra dedicated exclusively to commissioning, performing, and recording new orchestral music, presents "Strange Bedfellows: Unexpected Concertos" – a program of five incongruous concertos by five different composers featuring five of today's most revered solo artists. Spearheading the evening is the world premiere of Eric Chasalow's Horn Concerto with horn soloist Bruno Schneider.

Full review