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.

Gabriella Smith’s “Tumblebird Contrails”: Ecstatic Wings

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A vivid experience in nature formed the inspiration for Tumblebird Contrails, a work for orchestra composed in 2014 by American composer Gabriella Smith (b. 1991). In her program note Smith writes, Tumblebird Contrails is inspired by a single moment I experienced while backpacking in Point Reyes, sitting in the sand at the edge of the ocean, listening to the hallucinatory sounds of the Pacific (the keening gulls, pounding surf, rush of approaching waves, …

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Remembering Helmuth Rilling

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Helmuth Rilling, an acclaimed German choral conductor and influential interpreter of Bach, passed away last Wednesday, February 11. He was 92. Rilling founded numerous ensembles including the Gächinger Kantorei (1954), the Bach-Collegium Stuttgart (1965), the Oregon Bach Festival (1970), and the Internationale Bachakademie Stuttgart (1981). He served as professor of choral conducting at the Frankfurt Musikhochschule from 1965 to 1989 and led the Frankfurter Kantorei from 1969 to 1982. “Music has to …

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Debussy’s “Hommage á Rameau”: A Dreamy Remembrance of the Baroque Sarabande

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For Claude Debussy, the ghost of French Baroque composer Jean-Philippe Rameau (1683–1764) loomed large. An innovative composer of opera and harpsichord music, Rameau’s influential 1722 Treatise on Harmony earned him the nickname, the “Isaac Newton of Music.” In 1903, Rameau’s 1737 opera, Castor et Pollux, was performed in Paris. Debussy, in the audience, was heard to exclaim, “Long live Rameau, and down with Gluck!” Hommage à Rameau is the second piece in Book …

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Rameau’s “Zaïs” Overture: Creation Develops out of Chaos

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Creation develops out of primordial chaos in the Overture to the 1748 opera, Zaïs, by French Baroque composer Jean-Philippe Rameau (1683–1764). The shocking and innovative music predates Haydn’s similar depiction in the opening of his oratorio, The Creation, by half a century. The Zaïs Overture begins with muted drumbeats, followed by detached fanfare fragments. At first, rhythm falters and the harmony is directionless. Disparate musical building blocks, representing the four elements of Earth, …

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Handel’s Minuet in G, HWV 434/4: Alexander Malofeev

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Handel’s haunting and melancholy Minuet in G, HWV 434/4 is a frequent encore of Russian pianist Alexander Malofeev. Following a virtuosic tour de force such as Tchaikovsky’s First Piano Concerto, the simple, sensuous melodic lines of the Minuet pull listeners into a magical space. This music originated as the fourth movement of Handel’s Keyboard Suite in B-flat major, HWV 434, published in 1733. It was revived by pianist Wilhelm Kempff. This performance, featuring …

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Remembering Ken Peplowski

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Ken Peplowski, an acclaimed American jazz clarinetist and saxophonist, passed away suddenly last Monday, February 3. He was 66. Jazz critic Russell Davies called Peplowski “arguably the greatest living jazz clarinetist.” In his youth, he performed in the final iteration of the Benny Goodman Orchestra. As a soloist, he explored a range of jazz styles from Dixieland to bebop. In 2007, he was named jazz advisor for the Oregon Festival of American …

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Philip Glass’s String Quartet No. 2, “Company”: Brooklyn Rider

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In Samuel Beckett’s 1979 novella, Company, a man lies on his back in the dark and listens to a Voice. According to Thomas J. Taylor, The central narrative revolves around the complex relationship between the voice, the listener, and the elusive “another,” highlighting the ambiguity of identity and presence. As the anecdotes unfold, they reveal a deeper commentary on the nature of existence and the inevitability of loneliness, suggesting that while memories and …

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