Timothy Judd

A native of Upstate New York, Timothy Judd has been a member of the Richmond Symphony violin section since 2001. He is a graduate of the Eastman School of Music where he earned the degrees Bachelor of Music and Master of Music, studying with world renowned Ukrainian-American violinist Oleh Krysa. The son of public school music educators, Timothy Judd began violin lessons at the age of four through Eastman’s Community Education Division. He was a student of Anastasia Jempelis, one of the earliest champions of the Suzuki method in the United States. A passionate teacher, Mr. Judd has maintained a private violin studio in the Richmond area since 2002 and has been active coaching chamber music and numerous youth orchestra sectionals. In his free time, Timothy Judd enjoys working out with Richmond’s popular SEAL Team Physical Training program.

Mahler’s Adagietto: Michael Tilson Thomas and the London Symphony Orchestra

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From 1988 to 1995, Michael Tilson Thomas served as principal conductor of the London Symphony Orchestra, succeeding Claudio Abbado. His first association with the ensemble came in 1970 when he stepped in as a last minute replacement for Gennady Rozhdestvensky. In a recent obituary published by the London Symphony Orchestra, violinist Sarah Quinn recalls, I first worked with MTT nearly 30 years ago, when I was a nervous student sitting at the …

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Remembering Michael Tilson Thomas

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American conductor, composer, and pianist Michael Tilson Thomas passed away at his home in San Francisco last Wednesday following a battle with glioblastoma, an aggressive form of brain cancer. He was 81. Known widely as “MTT,” Tilson Thomas served as music director of the San Francisco Symphony for 25 years. He is credited with elevating the orchestra’s stature and championing adventurous new music. The grandson of Boris and Bessie Thomashefsky, stars of New …

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Debussy’s “La Puerta del Vino”: A Dreamy Habanera

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Dreamy and seductive, La puerta del Vino (“The Gate of Wine”) is the third piece in Claude Debussy’s Préludes, Book 2 for solo piano, published in 1913. The work is said to have been inspired by a postcard Debussy received from Spanish composer Manuel De Falla, depicting a Moorish gate at the Alhambra Palace in Granada. For the performer, Debussy provides the interpretive marking, “With sudden contrasts of extreme violence and passionate tenderness.” …

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Mendelssohn’s “Ruy Blas” Overture: Thrilling Music for a “Ghastly” Play

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Set in Romantic verse, Victor Hugo’s 1838 drama, Ruy Blas, involves a nasty practical joke with tragic consequences. Ruy Blas is a common poet who is forced to disguise himself as a nobleman to fulfill the vengeful plot of his aristocratic master. He falls in love with the Queen of Spain, who appoints him Prime Minister. When the deceit is revealed, his fall is abrupt and humiliating. Ruy Blas kills his master, Don …

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“Polichinelle”: A Fritz Kreisler Miniature

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Derived from the Italian “Pulcinella,” Polichinelle is a French puppet character. A staple of French street theater since the late 1500s, he is known to be a vulgar prankster. There is no vulgarity in Fritz Kreisler’s charming miniature for violin and piano, Polichinelle—only an undercurrent of scherzando mischief. Kreisler (1875-1962) wrote the piece, subtitled “Serenade,” in the United States in 1917. It comes two years before the Broadway opening of his operetta, …

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György Kurtág’s “Stele”: A Musical Epitaph

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If Beethoven’s opera, Fidelio, is a story of imprisonment and heroic rescue, Hungarian composer György Kurtág (b. 1926) takes us deeper into the dungeon in his 1994 orchestral work, Stele, Op. 33. Stele is a Greek word for a decorated slab used as a tomb stone or commemorative monument. Set in three brief movements which unfold without pause, Kurtág’s Stele is a sombre musical epitaph for Hungarian composer, conductor, and teacher András Mihály (1917-1993). …

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Beethoven’s Leonore Overture No. 2: From Imprisonment to Freedom

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Beethoven was a composer who worked and reworked musical ideas in a painstaking series of sketches. His only opera, Fidelio, provides the most extreme example. Beethoven labored over it for over ten years, creating three distinct versions (1805, 1806, and 1814), and four different overtures. The overture we know as Leonore No. 2, Op. 42a opened the original 1805 Vienna premiere of Fidelio. Ultimately, Beethoven believed that the dramatic weight of the …

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