For over two decades, cellist Michael Czitrom has been a familiar and valued presence on stage with the Phil. Known for his thoughtful musicianship and quiet creativity, Michael recently stepped into the spotlight with a unique project, “Bach Prelude for Two,” created and performed alongside fellow musician and stand partner Peter Zay.
Be sure to check out the video of their performance—linked here (youtube.com/watch?v=1oq-XoZZL8Q&feature=youtu.be) —and read on to learn more about the musician behind the music.
How long have you been with the Phil, and what keeps you coming back?
I started subbing, then joined full-time in 2002. It’s a great orchestra—Steven Karidoyanes attracts strong players and really cares about who’s on stage. I also love the programming—there’s a lot of American repertoire and music you might not hear elsewhere, including works by women and underrepresented composers.
How would you describe your connection with your stand partner?
You spend a lot of time side by side, so it becomes second nature. Peter and I have become close friends over the years.
Did you know? In the string section, the player on the inside of the stand always turns the page—except in the rare times when the parts are divided before the page turn, and only the inside player is playing – then the outside player takes over!
Beyond the logistics, it’s about listening and shaping the music together—phrasing, bowing, all of it.
What inspired “Bach Prelude for Two”?
I actually wrote it about 20 years ago when I had some unexpected free time. I was by the music of Johann Sebastian Bach—and by the way composers like Charles Gounod reimagined Bach’s work by layering new melodies over existing pieces. I started to notice similarities between Bach’s keyboard preludes and the famous Prelude from the First Cello Suite, and thought—what if I created a second cello line to go along with it?
What was it like performing and recording it with Peter?
We only had one rehearsal—Peter already knew it so well. We recorded at the Plymouth Center for the Arts in just a few takes. Playing from memory added an extra layer of freedom—and vulnerability—to the process.
You mentioned it took some nerve to share—why?
I’ve never really posted anything like this before. There’s always that thought—will people see it as a reinterpretation, or a desecration? In the end, the response—and my own belief in the piece—made the decision worthwhile. It felt like I created something new.
What’s next for you creatively?
I don’t think I’m done experimenting. Future ideas include further explorations of Bach’s cello suites—particularly the Fourth Suite—as well as new projects inspired by the same concept of layering and reinterpretation.
Quick Takes
Why cello? A family decision—“anything but violin,” my mother insisted after hearing a relative play!
Coffee, Tea or something stronger? Coffee in the morning – 3 cups to start and also for a late night rehearsal. And after a concert either a cabernet or a johnny walker black on the rocks.
Most memorable performance moment? I was playing for the new york philharmonic in high school at the Lincoln center, and in the second half the assistant conductor came out to finish the concert. The next day a newspaper article read: conductor suffers heart attack during philharmonic concert and it showed my picture playing the cello.
Movie you want to see: Epic – Elvis presley in concert, will be interesting to see what footage they chose to show out of all that was available.
Favorite composer (besides Bach)? Beethoven. Especially the late string quartets—there’s an intellectual depth that reveals something new every time you listen.
When you’re not performing? Every Tuesday night I’m in a bowling league in Dorchester with a team called Split Happens.
