the former U.S.S.R. who attended Moscow State Conservatory, from whence he
graduated cum laude. A couple
of his early gigs were with the Moscow Radio and Television Symphony
Orchestra and the Moscow Philharmonic String Quartet.
in 1972 and joined the Jerusalem Broadcasting Symphony Orchestra as their
Bernstein encouraged him to attend the Tanglewood Music Center
and Michael auditioned and won a spot with the Boston Symphony Orchestra in
with whom he has worked include the Ars Poetica Chamber Orchestra, the Atlantic Symphony
Orchestra, the Boston Pops, the Bristol Chamber Orchestra, the Georgian
Chamber Orchestra, and the Rhode Island Philharmonic.
appeared on the following recordings:
American Visions; Bach, Bach & Bach; Black Snow; The Celtic Album; Chris Botti in Boston; Holiday Pops; J.S. Bach –
The Six Cello Suites; My Favorite
Things: A Richard Rodgers
Celebration; Singular Voices;
and, A Splash of Pops.
November 2000, he and harpsichordist Marina Minkin
were the featured soloists with the Bristol Chamber Orchestra in a Fall
Colors Orchestra Concert at the United Church of Christ in Canton, Massachusetts. Their program comprised George Bizet’s
“Andantino”, Michael Haydn’s “Concerto for Viola
& Harpsichord”, Paul Hindemith’s “Trauermusik”,
and the world premiere of Jakov Jakoulov’s “Eclogue, Epitaph and Hymn”.
participated in the International Music Festival in Borjomi,
Republic of Georgia, where he was the guest
soloist of the Georgian Chamber Orchestra under the baton of Liana Issakadze, in July 2003.
The American College
of Greece invited him to
perform and speak at their campus in Athens,
where he performed the aforementioned Bach cello suites in November 2005.
dedicated his “Duo Concertante” to
Michael in 2006.
2007, he appeared with the New England String Ensemble in a pair of their
winter concerts that included Johannes Brahms’ “Liebeslieder Waltzes”, Jean-Baptiste
Lully’s “Le Triomphe de l’Amour”, Jakoulov’s
“Viola Concerto No. 2”, and Wolfgang Amadeus Mozart’s “Eine kleine Nachtmusik”.
violinist Victor Romanul delivered the world
premiere of Williams’ “Duo Concertante”
as part of the BSO’s prelude concert at
Seiji Ozawa Hall on 17th August 2007. Included in the program were Aaron
Copland’s “Elegies for Violin and Viola”, Bohuslav Martinu’s “Three
Madrigals for Violin and Viola”, and Mozart’s “Duo in G,
October 2007, he and Peter Zazofsky took Williams’
“Duo Concertante” to Boston University. Its world-premiere recording was
released in 2008, and featured Michael matched up again with Victor Romanul. Michael
also appeared on 2008’s Hindemith: Sonatas for Accompanied and
Unaccompanied Viola Opp. 11 and 25.
November 2008, he took part in the Thompson Chamber Music Series at Gordon College
in Wenham, Massachusetts.
He and pianist
Victoria Postnikova gave a wall-to-wall Brahms pre-concert
recital at Symphony Hall on 25th November 2008.
In July 2009,
several members of the BSO, including Michael, clarinetist William R.
Hudgins, cellist Alexandre Lecarme
and pianist Orli Shaham,
performed in a chamber music concert at Seiji Ozawa Hall in Lenox, Massachusetts.
solo on 8th November 2009, dusting off the Bach cello suites for
a performance at St. Paul’s Episcopal
Church in Brookline,
2010, he and cellist Mickey Katz and violinist Victor Romanul
appeared in a pair of recitals at Arts at the Amory and St. Paul Church
that comprised Mozart’s “Trio (Divertimento) in E flat major,
K. 563”, Walter Piston’s “Duo for Viola and Cello”,
and Anton Webern’s “Trio for Strings, Op. 20”.
on-hand for the BSO prelude concert once again at Seiji Ozawa Hall in July
2010. This warmer-upper
included Charles Martin Loeffler’s “Marchenerzalungen” and “Rhapsodies”
and Mozart’s “Trio for Clarinet, Viola and Piano in E flat”.
October 2011, he and keyboardist Alina Polyakov performed Brahms’ “Sonata No. 2 in
E flat, Op. 120”, Mikhail Glinka’s “Sonata for Viola and
Piano”, Robert Schumann’s “Marchebilder,
Op. 113”, and Dmitri Shostakovich’s “Sonata for Viola and
Piano, Op. 147”.
In the field
of music education, Michael has taught at the Boston Conservatory, Boston University,
the Instrument Craft Institute, the Longy School
of Music, and Wellesley