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.

Mozart’s Journey in the Footsteps of Bach

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When the name, “Bach,” was mentioned in the late eighteenth century, the first composer to come to mind would probably have been Carl Philipp Emanuel Bach, the second son of Johann Sebastian. Mozart was referencing CPE, not J.S Bach, when he commented to his Vienna patron, Gottfried van Swieten, “Bach is the father. We are the children!” At the time, the dense complexity of baroque music was viewed as outdated, while the galant style of CPE and JC …

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Mozart’s Mass in C Minor: An Unfinished Monument

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Some interesting questions surround the creation of Mozart’s “Great” Mass in C minor. First, it was written in Vienna between 1782 and 1783 at a time when Mozart was in demand for operas, not sacred music. He had resigned his post in Salzburg in August, 1777, escaping the provincialism of an Archbishop with a penchant for unsophisticated church music as well as his overbearing father, Leopold. Then, there’s the question of why Mozart left …

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“Short Ride in a Fast Machine”: MTT and the San Francisco Symphony

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You know how it is when someone asks you to ride in a terrific sports car, and then you wish you hadn’t? This is how John Adams explains the title of his 1986 orchestral fanfare, Short Ride in a Fast Machine. It’s an exhilarating five-minute musical joyride that rests just on the edge of terror. Given its popularity, Short Ride in a Fast Machine must be one of the few pieces written in the last fifty …

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A Gradual Zoom Outward: Timo Andres’ “Checkered Shade”

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Checkered Shade, a 2014 chamber work by American composer Timo Andres (b. 1985), demonstrates that the repetitive, pulse-based minimalism of early Steve Reich and John Adams still provides fertile musical ground. The piece opens with pulsating string harmonics reminiscent of Adams’ Shaker Loops or Common Tones in Simple Time, both written in 1979. One passage suggests the cartoonish bombast of the final movement of Adams’ rule-breaking Grand Pianola Music. All of this is interspersed with jazzy flute licks and …

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The Transformation Scene from Strauss’ “Daphne”: Renée Fleming, Live

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Richard Strauss’ 1937 one act opera, Daphne, (subtitled “a bucolic tragedy”) is based on the mythological figure from Ovid’s Metamorphoses. According to the legend, the chaste Daphne sings praises to warm sunlight and the trees and flowers of the natural world. She is so rooted in nature that she has no interest in human love, rejecting her childhood friend, the shepherd Leukippos, as well as a mysterious herdsman. At the festival of Dionysus, Daphne dances with Leukippos, who …

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Rachel Barton Pine Plays “Danse macabre”

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The violin’s reputation as “the Devil’s instrument” goes back at least as far as the Renaissance, where paintings such as Pieter Bruegel’s 1562 The Triumph of Death, linked the violin to death and the depravity of dance. The “Devil’s Trill” Sonata by Giuseppe Tartini (1692–1770) comes with a story in which the composer heard the Devil playing the Sonata in a dream. Charlie Daniels’ The Devil Went Down to Georgia tells a similar story. The 2013 film, The Devil’s …

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Bartók’s Surprising Influence on Jazz

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There are some fascinating connections between jazz and the music of Béla Bartók. Both have a pristine, highly-ordered sense of structure. Both are built on complex rhythmic grooves which grow out of a folk tradition. Jazz pianist Dániel Szabó delves into this subject in a recent article where he writes, Whenever I hear the second movement of Music for Strings, Percussion and Celesta, the extraordinarily tight rhythm, the shifts in emphasis, inserting 3/8 phrases …

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