Myron Lutzke is well known to audiences as a cellist on both modern and period instruments. He attended Brandeis University and is a graduate of The Juilliard School where he was a student of Leonard Rose and Harvey Shapiro. Chamber music studies include work with Robert Koff, Eugene Lehner, and Felix Galimir. He is currently a member of St. Luke’s Chamber Ensemble, Aulos Ensemble, Mozartean Players, Bach Ensemble, Loma Mar Quartet, The Theater of Early Music, and the Esterhazy Machine, and serves as principal cellist for Orchestra of St. Luke’s, American Classical Orchestra, and for 14 years, the Handel and Haydn Society with Christopher Hogwood in Boston. He has appeared as soloist at the Caramoor, Ravinia, and Mostly Mozart festivals, and is a regular participant at the Sweetwater Music festival, Ottawa Chamber Music Festival, Santa Fe Promusica, and the Smithsonian Chamber Players.
Myron’s numerous recordings include the complete Mozart and Schubert piano trios with the Mozartean Players and the album Working Classical with the Loma Mar quartet for Paul McCartney. He has recorded for the Sony, DG, Dorian, Atma, Arabesque, EMI, and Oiseau-Lyre labels. He teaches regularly at the Indiana University Early Music Institute and is currently on the faculty of the Mannes School of Music where he teaches period cello and Baroque performance practice. He has also served as director of the Amherst Early Music Baroque Academy.
Get to Know Myron
If you could meet any musician, past or present, who would you choose?
Without question, J.S. Bach. The body of work he has left us is extraordinary. I have been fortunate to play his music in many of the places he lived and worked—Arnstadt, Weimar, Leipzig—and his presence is tangible. To witness him at work, composing, performing, teaching, even running a secular concert series at a coffee house while in charge of music in two major churches in Leipzig, would be awe-inspiring. Or to be sitting in the Thomaskirche listening to him improvise at the organ…
If you were to play a different instrument, what would it be?
Speaking of improvisation, (a skill equally valued in the 18th century), I actually started my musical life as a pianist, with my Juilliard-trained mother as my teacher. My father was a drummer and introduced me to the American Song Book, a rich and wonderful tradition. Perhaps my greatest musical frustration was trying to become a jazz pianist. I have such a deep respect (envy is perhaps more apt) for those who have that direct musical connection between mind and fingers.
Where are we most likely to find you when you’re not playing?
In our house in Vermont—very isolated, with a profound silence, except for the birds and the occasional coyotes. The birds seem to like when we play. We go whenever we can.