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.

Anna Thorvaldsdottir’s “Heyr þú oss himnum á”: An Icelandic Hymn

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The music of the Icelandic composer, Anna Thorvaldsdottir (b. 1977), seems to rise out of remote, rugged landscapes bathed in pale Nordic sunlight. Thorvaldsdottir’s Heyr þú oss himnum á (“Hear us in heaven”), written in 2005 for the Skálholt Summer Concert Series, is a setting of four verses from an ancient Icelandic psalm by Olafur á Söndum (1560–1627). Scored for mixed choir, it is a meditative prayer filled with primal open intervals and …

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Arvo Pärt’s “In Spe”: Building With Primitive Materials

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For eight years, beginning in the late 1960s, the Estonian composer, Arvo Pärt (b. 1935), entered into a period of compositional “silence.” When Pärt resumed his work, the music which emerged was far removed from that of his earlier modernist style. Ultra-complexity and dissonance were gone, replaced with a sense of timeless, meditative serenity. Pärt embraced the sanctity of a single note, or a glowing triad. “The complex and many-faceted only confuses me, …

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Schumann’s Blumenstück in D-Flat Major: Vladimir Horowitz, Live in 1966

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Robert Schumann described his Blumenstück (“Flower Piece”) in D-flat Major, Op 19 as “variations, but not upon any theme,” adding that “everything is interwoven in such a peculiar way.” Indeed, the brief solo piano piece unfolds in a series of dreamy episodes through which runs a common thematic thread. Following its initial statement, the opening episode fades into the background, and it is the second section of the piece which recurs as …

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Schumann’s “Genoveva” Overture: Dramatic Music From a Neglected Opera

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Genoveva was Robert Schumann’s only opera. The tragic drama in four acts premiered in Leipzig in June of 1850. The unsuccessful original production received only three performances, and, with the exception of the Overture, the work fell into obscurity. As with Wagner’s Lohengrin, which was written during the same period of time and premiered in August of 1850, Genoveva is based on a medieval German legend. Genoveva, the wife of Siegfried, Count of Brabante, …

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Manuel Ponce’s Serenade, “Estrellita”: Heifetz in Mexico

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“When he was on world tour, Jascha Heifetz liked to include music on the program by a composer of the country in which he was performing,” recalled Ayke Agus, a former student of the great violinist. She continued, In 1923 he was in Mexico City and realized he didn’t have any work by a Mexican composer. While in a cafe there, he heard a local musician sing a popular song written by …

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Gloria Coates’ String Quartet No. 7, “Angels”: Mystical Spaces in Sound

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Gloria Coates, a prolific American composer who in 1969 relocated to Munich, passed away last week. She was 89. Coates’ works include 16 symphonies, 11 string quartets, and numerous songs. Additionally, she was active as an abstract expressionist painter, creating art which appeared frequently on her album covers. The music critic, Mark Swed, wrote, “Coates is a master of microtones, of taking a listener to aural places you never knew could exist …

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Couperin’s Trio Sonata, “La Superbe”: Florence Malgoire and Les Dominos

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The trio sonata, which consists typically of two violins (or flutes, recorders, or oboes) and basso continuo, originated in Italy in the late sixteenth century. At first an instrumental adaptation of three-part vocal music, the form was refined and developed by Arcangelo Corelli. It is François Couperin (1668-1733), harpsichordist and court composer for Louis XIV, who is credited with introducing the trio sonata to the insular music world of France in the …

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