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.

Aaron Copland’s “Letter from Home”

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Aaron Copland’s Letter from Home seems strangely appropriate for the solemn, reflective spirit of Memorial Day. It’s music filled with distant voices, from the lonely nostalgia of the opening clarinet statement to the plaintive nobility of the solo trumpet, with all of its distant battlefield connotations. This is a piece concerned with memory. Letter from Home was written in 1944 in support of the war effort. Commissioned by the bandleader Paul Whiteman for live …

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“Three Manhattan Bridges:” Michael Torke’s Valentine to New York

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The George Washington Bridge over the Hudson is the most beautiful bridge in the world. Made of cables and steel beams, it gleams in the sky like a reversed arch. It is blessed. It is the only seat of grace in the disordered city. It is painted an aluminum color and, between water and sky, you see nothing but the bent cord supported by two steel towers. When your car moves up …

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Exploring the Sarabande Over 400 Years

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No one seems to be sure, exactly, about the roots of the sarabande as a dance form. It may have originated in Mexico or some other part of Latin America. It was popular in the Spanish colonies during the sixteenth and seventeenth centuries. The zarabanda was first mentioned in a 1593 poem, Vida y tiempo de Maricastaña, written in Panama by Fernando de Guzmán Mejía. As a dance, it was so spicy that it was considered …

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New Release: Fabio Biondi and Europa Galante Play Leclair

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Elegance, charm, and musical integrity have long characterized the French approach to violin playing. These qualities can be traced back to the violinist and composer Jean-Marie Leclair (1697-1764), who is often considered to be the founder of the French school of violin playing. As a virtuoso composer and teacher, Leclair helped to elevate French violin playing to a level comparable to his famous Italian contemporaries, Vivaldi and Corelli. He employed the same innovative …

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New Release: Arcadi Volodos Plays Brahms

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Johannes Brahms’ three Op. 117 Intermezzos are a mix of serene, autumnal beauty, solitary introspection, and underlying sadness. Brahms wrote these solo piano works in the summer of 1892 with his longtime friend, Clara Schumann in mind. He described them as “lullabies of my sorrow.” The score is inscribed by a quotation from a Scottish poem from Johann Gottfried Herder’s Volkslieder: Sleep softly my child, sleep softly and well ! It hurts my heart to see …

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Tchaikovsky’s Fateful Fourth Symphony

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It begins with one of the most powerful, bold, and memorable statements in all of symphonic music. Tchaikovsky’s Symphony No. 4 in F minor opens with a blazing fanfare, first heard as a piercingly metallic proclamation in the horns and then augmented by trombones and soaring trumpets. Regarding this opening, Tchaikovsky wrote, The introduction is the seed of the whole Symphony: This is fate: that fateful force which prevents the impulse to happiness from attaining its goal, which …

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“Der Rosenkavalier,” Renée Fleming, and the Passing of Time

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Time is a strange thing. While one is living one’s life away, it is absolutely nothing. Then, suddenly, one is aware of nothing else. It is all around us – inside us, even! It shifts in our faces, swirls in the mirror, flows in my temples. It courses between you and me – silent, as in an hourglass. Oh, often I hear it flowing, irrevocably. Often I get up in the middle of …

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