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.

Excerpts from Tchaikovsky’s “The Sleeping Beauty”

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I spent last weekend in the orchestra pit playing Tchaikovsky’s The Sleeping Beauty for Richmond Ballet. Even as I’ve moved on to new programs this week, fragments of Tchaikovsky’s haunting score have continued to play in my mind, inspiring me to investigate a few recordings, old and new. Premiered in January, 1890 at Saint Petersburg’s Mariinsky Theatre, The Sleeping Beauty is often overshadowed by Tchaikovsky’s two other ballet scores, Swan Lake (1876) and The Nutcracker (1892). This is a shame, because it …

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Tossing Off Melodies: Leonard Bernstein’s “Lucky to Be Me”

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The jubilant, infectious melody and gushing lyrics of the song, Lucky to Be Me, from Leonard Bernstein’s 1944 Broadway musical, On the Town, seem appropriate for any Valentine’s Day playlist. (The lyrics are by Betty Comden and Adolph Green, and the show’s inspiration came from Jerome Robbins’ ballet, Fancy Free, produced the same year with a score by Bernstein). Listen to the way the contour of Bernstein’s melody, beginning around the 35 second mark, mirrors the carefree euphoria …

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Remembering Jóhann Jóhannsson

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The Icelandic-born composer, Jóhann Jóhannsson, passed away suddenly and unexpectedly over the weekend in Berlin. He was 48. Jóhannsson was the Oscar-nominated composer of such films as Arrival, Sicario, and The Theory of Everything. His scores frequently enter a dark, ambient sound world, augmenting the colors of the orchestra with the sounds of electronic music. This excerpt from Jóhannsson’s rejected score for the film, Blade Runner 2049, ventures into the world of microtonality- nonconventional tuning in which …

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Nahre Sol: “Good Night I Love You Bye”

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Nahre Sol is a pianist and composer whose music blends elements of “improvisation, traditional Western form and harmony, jazz harmony, and minimalism.” Her online video series, “Practice Notes” provides an educational resource for piano students. I discovered her music during her recent conversation with Rick Beato. Good Night I Love You Bye opens with a warm, quietly-embracing melody, propelled forward with crystalline, Bach-like contrapuntal lines. A series of exuberant musical adventures follows this opening statement. The …

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Walking in the Footsteps of Mahler with Three Historic Recordings

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Today, we meet Mahler. More accurately, we take a walk in the composer’s footsteps, indirectly, through the historic recordings of two of his closest protégés, soprano Anna von Mildenburg and conductor Bruno Walter. One brief fragment from 1904 is the only existing document of the eminent Austrian Wagnerian soprano, Anna von Mildenburg (1872-1947), pictured above. At the age of 23, Mildenburg made her debut under Mahler’s baton at the Hamburg State Opera, singing the role …

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Beethoven’s “Choral Fantasy”: A Grand Hybrid

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It’s part piano improvisation, part piano concerto, and part grand chamber work. Oh yes, and there’s a full chorus at the end. Beethoven’s Fantasy for piano, vocal soloists, chorus, and orchestra, Op. 80, a piece I played over the weekend, is a fascinating and genre-defying hybrid. It was written for a benefit concert that was performed on December 22, 1808. At the end of the concert, Beethoven pulled together the evening’s disparate forces with this …

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The 2018 Classical Grammys

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We’ll finish the week with an overview of last Sunday’s 60th Annual Grammy Awards in the classical categories. As you’ll see below, it was a good night for Second Viennese twentieth century composer, Alban Berg. Best Orchestral Performance Shostakovich: Symphony No. 5; Barber: Adagio — Manfred Honeck, conductor (Pittsburgh Symphony Orchestra) This album was recorded live in June (Shostakovich) and October (Barber) of 2013. It’s the second Pittsburgh Symphony album to be honored …

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