Johannes MOSER
Gramophone magazine described him as “one of the finest among the astonishing gallery of young virtuoso cellists.” German-Canadian artist Johannes Moser is renowned not only for his outstanding performances, but also for his passion for contemporary music and his dedication to reaching and educating audiences—from kindergarten to infinity. He has performed with the Berlin, New York, and Los Angeles Philharmonics, the Chicago Symphony Orchestra, and numerous other leading ensembles across the globe. In the Janáček Philharmonic Ostrava’s 72nd season, Johannes Moser will once again delight his beloved Ostrava audience—as the orchestra’s artist-in-residence, he will return for several performances.

Can you give us a sense of what’s to come with the JFO and what you hope to bring to the collaboration? What can listeners look forward to?
First and foremost, I wanted to bring works that are at the core of what I do and what I’m artistically passionate about. I also wanted to present repertoire that I feel will showcase the orchestra in the best possible light. My choice of Witold Lutosławski’s Cello Concerto was also guided by that—it’s a piece where the orchestra has a very, very strong voice. The cello and the orchestra are in conflict, almost in battle. But in the end, there’s an apotheosis, a sense of triumph and peace, and I thought that message felt especially relevant in our global situation—filled with hope that conflict can eventually lead to greater mutual understanding.

I chose the Haydn concerto because I love the string sound of this orchestra, and I know the players will bring a refined, elegant approach to the music. I’ll also return with chamber music, performing with two of my favorite musicians—and favorite people—violinist Vadim Gluzman and pianist Andrei Korobeinikov.

But this won’t be your first time playing with the Ostrava Philharmonic. Your most recent collaboration was in 2023. You’ve spoken very warmly about working with this orchestra—even saying you were blown away the very first time. What exactly impressed you so much?
It’s hard to put into exact words. It’s more a feeling I got from the collaboration. Sincerity and genuine interest in music without arrogance or ego—that’s incredibly refreshing and, sadly, a bit rare in the music world today. Usually, high quality comes with huge egos, but I feel like the JFO approaches music with true selflessness. At least that’s the impression I’ve had in all of our collaborations so far.

Besides this very productive working atmosphere, I also sense that this is a genuinely positive and open-minded orchestra. And I love that.

You’ve also spoken very fondly of the Ostrava audience. What makes them so special to you?
Of course, audiences usually come to listen to a concert—but what they might not realize is that I also listen to them from the stage. Thanks to years of experience, I can tell whether an audience is truly engaged or just there to show off their new shoes. What I loved during my last visit to Ostrava was not only their genuine interest, but also how diverse the audience was in terms of age—and that’s inspiring. I appreciate young listeners, and I also enjoy playing for more seasoned audiences, because I feel both groups bring very different experiences and perspectives. Together, they create an engaged and truly fascinating crowd that is a joy to perform for.