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.

Kate Royal Sings Britten: “How Beautiful It Is” from “The Turn of the Screw”

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Benjamin Britten’s 1954 chamber opera, The Turn of the Screw, is a spine-chilling psychological thriller. Based on Henry James’ 1898 gothic horror novella of the same name, it tells the story of a young, inexperienced governess who is sent to a grand English country estate to care for two orphaned children. Their guardian has left strict instructions that she is forbidden to write to him, to inquire about the history of the house, …

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Nathan Milstein Plays Mendelssohn: 1962 Chicago Symphony Telecast

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Nathan Milstein (1903-1992) was one of the most elegant and innately gifted violinists of the twentieth century. The biographer Boris Schwarz called his playing, “a rare combination of classical taste and technical perfection,” adding that “the effortless nonchalance with which he achieves sophisticated technical feats is amazing.” Born in Odessa, Milstein moved to St. Petersburg at the age of 11 where he became one of the last students of the legendary Leopold …

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Stravinsky, Hindemith, and Poulenc: Three Twentieth Century Pastorales

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With roots in the Baroque period, the musical pastorale evokes a serene, bucolic landscape. Often, it rolls along in a gentle 6/8 time and suggests the simple, free-floating melodies and drones of a shepherd’s bagpipes. J.S. Bach’s Pastorella In F Major, BWV 590 for organ, the final movement of Corelli’s “Christmas” Concerto, and the Pastoral Symphony from Handel’s Messiah are famous examples. The sound world of the twentieth century was dominated by …

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Beethoven’s “Pastoral” Sixth Symphony: A Communion With Nature

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Beethoven’s Fifth and Sixth Symphonies were completed in the same year of 1808, and were premiered at the same under-rehearsed, four-hour-long concert. Yet, the two works stand as diametric opposites. The Fifth Symphony takes a dynamic journey towards transcendence. It is filled with ferocious, crackling energy and a sense of heroic struggle. Set in the bucolic key of F major, the quieter Sixth Symphony inhabits the stable, enduring world of nature. Beethoven gave it the subtitle, …

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Leonidas Kavakos Plays Bach: Sonata No. 3 in C Major, Adagio and Fuga

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The Greek violinist Leonidas Kavakos describes J.S. Bach’s Sonatas and Partitas for Solo Violin (BWV 1001–1006) as “the most perfect music ever written.” The violin is an instrument which is usually associated with a single, singing melodic line. Yet Bach’s six suites open the door to a magical polyphonic world in which a single violin can create multiple voices. This counterpoint is especially vivid in the three fugues (included in the Sonatas) and the D …

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Bruckner’s Mass No. 3 in F Minor: Entering Symphonic Dimensions

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Anton Bruckner’s mighty Mass No. 3 in F minor emerged at a pivotal moment in the composer’s life. In a way similar to the music which Beethoven composed following the Heiligenstadt Testament, it can be heard as a majestic expression of faith and gratitude. Beethoven’s contemplation and ultimate triumphant rejection of suicide in the face of progressive hearing loss is well known. A nervous breakdown in the spring of 1867 led to …

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Rachmaninov’s “The Rock”: An Homage to the Romantic Tone Poem

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Sergei Rachmaninov was twenty years old when he composed the orchestral tone poem, The Rock, Op. 7 in the summer of 1893. It is music which looks back as much as forward. We hear Rachmaninov’s distinctive voice coming into focus. At the same time, this early work pays homage to an existing Russian Romantic tradition. The influence of Rimsky-Korsakov, to whom the piece was dedicated, Tchaikovsky, and Borodin is evident. At moments, The Rock develops with that …

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