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.

In Terra Pax

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Take a break from the holiday hubbub and spend a few minutes listening to In Terra Pax (“And on earth, peace”), the beautiful Christmas cantata by English composer Gerald Finzi (1901-1956). You might be reminded of the lush, layered string writing of Ralph Vaughan Williams. There are also moments in the piece which may have influenced John Rutter. Get a detailed introduction of the piece here and here.

Written in 1954, this was one of Finzi’s last pieces. The opening motive was inspired by English church bells:

Part 1:

Part 2:

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Finzi sets part of Robert Bridges’s poem, Noel: Christmas Eve 1913:

[quote]A frosty Christmas Eve when the stars were shining
Fared I forth alone where westward falls the hill,
And from many a village in the water’d valley
Distant music reach’d me peals of bells aringing:
The constellated sounds ran sprinkling on earth’s floor
As the dark vault above with stars was spangled o’er.
Then sped my thoughts to keep that first Christmas of all
When the shepherds watching by their folds ere the dawn
Heard music in the fields and marveling could not tell
Whether it were angels or the bright stars singing.
Now blessed be the tow’rs that crown England so fair
That stand up strong in prayer unto God for our souls
Blessed be their founders (said I) an’ our country folk
Who are ringing for Christ in the belfries to-night
With arms lifted to clutch the rattling ropes that race
Into the dark above and the mad romping din.
But to me heard afar it was starry music
Angels’ song, comforting as the comfort of Christ
When he spake tenderly to his sorrowful flock:
The old words came to me by the riches of time
Mellow’d and transfigured as I stood on the hill
Heark’ning in the aspect of th’ eternal silence.[/quote]

[typography font=”Cantarell” size=”28″ size_format=”px”]Elegy for Violin and Piano, Op. 22[/typography] 

As a bonus, here is Daniel Hope playing Finzi’s Elegy for Violin and Piano:

Corelli’s Christmas Concerto

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Here is a great period performance of Arcangelo Corelli’s Concerto grosso in G minor, Op. 6, No. 8 by Accademia deli Astrusi. This piece was first performed on Christmas, 1690 and bears the inscription”Made for the night of Christmas.” The concerto is made up of six short movements which alternate in tempo between fast and slow. The final movement is a serene Pastorale which suggests the nativity scene. 

The drama of a concerto grosso (big concerto) lies in the contrast between solo voices and the full ensemble. Corelli loved using suspensions, holding out notes which sound “wrong” and then resolve. Listen to the complex interplay between instruments. Also notice the use of ornamentation on the repeats.

Change Ringing in England

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Yesterday’s post featured a sample of church bells from across continental Europe. In many cases, these bells have been ringing out for centuries and are part of the ambiance of the city. In England’s “green and pleasant land” of orderly fields, hedge rows and quaint cathedral towns it isn’t surprising that a structured, rule-oriented style of bell ringing developed.

Change ringing, a series of mathematical patterns of tuned bells, was developed in the 17th century. Learn about how chain ringing is done here. Here is an additional clip about the mathematics of bell ringing.

[typography font=”Cantarell” size=”28″ size_format=”px”]Change Ringing Up Close[/typography]

Here is an example of change ringing from Liverpool. You can hear the bells pealing in a scale and then moving into a variety of patterns. The timing and precision required is impressive:

[typography font=”Cantarell” size=”28″ size_format=”px”]Westminster Abbey[/typography]

Here is what the bells and organ sounded like at Westminster Abbey on the day of the Royal Wedding in 2011:

[typography font=”Cantarell” size=”28″ size_format=”px”]St. Paul’s Cathedral[/typography]

Here are the bells of Sir Christopher Wren’s St. Paul’s Cathedral:

https://www.youtube.com/watch?v=B_IB6EBhX8g

Europe’s Age-Old Bells

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The Christmas season presents an excellent opportunity to sample the awe-inspiring sounds of church bells throughout Europe. This age-old tradition dates back as far as 400 AD. Each cathedral and city seems to have its own unique bell sound. Learn about the history of bell ringing here and for further listening, go to this episode of Karl Haas’s Adventures in Good Music.

[typography font=”Cantarell” size=”28″ size_format=”px”]Cologne[/typography]

Let’s start with eight of the eleven mighty bells of Cologne Cathedral in Germany. Four of the bells were cast and installed in the 1400s. The 24 ton St. Petersglocke is the largest free swinging bell in the world. Listen to the deep, rich sound which is slowly built up as new bells begin to ring. Around 1:56 you can hear what I’m guessing is the enormous St. Petersglocke:

[typography font=”Cantarell” size=”28″ size_format=”px”]Fulda[/typography]

Now we’ll go to the German city of Fulda. This clip begins with a single bell ringing and ends with the sound of all ten bells of the Fulda Cathedral:

https://www.youtube.com/watch?v=nI-8ZdPJAGE

[typography font=”Cantarell” size=”28″ size_format=”px”]Antwerp[/typography]

Here are the bells of the Cathedral of Our Lady in Antwerp, Belgium. This Gothic cathedral was consecrated in 1521:

[typography font=”Cantarell” size=”28″ size_format=”px”]Prague[/typography]

…and here are the deep tones of the bells of St. Vitus Cathedral in Prague. Listen to the amazing sound of the larger, lower bells which gradually begin to ring:

[typography font=”Cantarell” size=”28″ size_format=”px”]Florence[/typography]

Now, let’s go to Italy to hear the seven bells of the Basilica di Santa Maria del Fiore in Florence. Filippo Brunelleschi’s dome, which dominates the city skyline, was completed in 1461. Exceeding the dome of the Pantheon in Rome, it was a great engineering feat as well as a powerful architectural statement:

[typography font=”Cantarell” size=”28″ size_format=”px”]England’s Unique Sound[/typography]

Come back tomorrow and hear a completely different style of bell ringing from England, known as change ringing.

Nutcracker Season

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NutcrackerNutcracker season is in full swing here in Richmond. My orchestra, the Richmond Symphony, will perform Tchaikovsky’s Nutcracker thirteen times through December 23. Richmond Ballet’s long-term dedication to live music in the orchestra pit is commendable and elevates their already excellent productions. There is no replacement for the power and emotional punch of live music. Canned music has a “deadening” effect, while live music unleashes a creative energy which propels all other aspects of the production.

Challenges arise when you’re playing the same piece multiple times in a row. Physical and mental fatigue can set in on days when there are doubles. High decibel levels and close proximity in the orchestra pit can be painful. It’s also important to avoid going on “autopilot.” Professionalism requires that you deliver an equally exciting product in every performance, even if it’s the hundred millionth time.

When you can’t see the stage, you become increasingly aware of the drama unfolding in the music. In the moments before the clock strikes midnight, Tchaikovsky’s hushed music builds anticipation. A sudden key change and colorful splashes of harp tell us that we’ve transitioned into a magical new world. Squeaks and chirps suggest the scurrying mice. One characteristic unique to Tchaikovsky is his ability to generate intense excitement by pushing a repeated musical idea to its limit. Just when you think he can’t go any further, he takes it that one extra step. In The Nutcracker this is visually as well as musically represented with the growth of the Christmas tree. There are also moments, like the coda of the Waltz of the Flowers, where the feeling of established meter gets disrupted.

At its heart, E.T.A Hoffmann’s mythical story is about death (the toy Nutcracker is destroyed) and heroic and eternal rebirth. The hazy line between dream and reality permeates the story. As hard as it is to believe, The Nutcracker, which premiered in 1892, was not originally successful. Now it’s a glistening addition to the Christmas season in Richmond and beyond.

https://www.youtube.com/watch?v=clWKDT4TQIk&noredirect=1

Music of the Hunt

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Vanity Sounds the Horn and Ignorance Unleashes the Hounds Overconfidence, Rashness, and Desire (from The Hunt of the Frail Stag) , 1500–1525 South Netherlandish
“Vanity Sounds the Horn and Ignorance Unleashes the Hounds Overconfidence, Rashness, and Desire” (from The Hunt of the Frail Stag) , Dutch tapestry, 1500–1525

The sound of horns and trumpets evokes ancient and sometimes subconscious associations. Horns were used during the hunt to call hounds because their sound was similar to the human voice but could carry for great distances. Trumpets served as a way to communicate on the battlefield during military campaigns. Originally these instruments were played without valves. Only pitches in the harmonic series were available, leading to a uniquely “open” sound.

Let’s listen to a few pieces that were inspired by sounds of the hunt:

[typography font=”Cantarell” size=”28″ size_format=”px”]Paganini Caprice No. 9 in E Major[/typography]

Paganini’s Caprice No. 9 for violin imitates the sound of hunting horns. Here is a great performance by James Ehnes:

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[typography font=”Cantarell” size=”28″ size_format=”px”]Hunter’s Chorus[/typography]

Suzuki violin students learn an arrangement of Carl Maria Von Weber’s Hunter’s Chorus in Book 2. Here is the original version from Act 3 of Weber’s opera, Der Freischütz. Read the synopsis of the opera here.

[button link=”https://itunes.apple.com/us/album/weber-der-freischutz/id635368592″]Find on iTunes[/button] [button link=”http://www.amazon.com/Weber-Der-Freischutz-Gottlob-Frick/dp/B000L42J4K”]Find on Amazon[/button]

[typography font=”Cantarell” size=”28″ size_format=”px”]Bruckner’s “Hunt” Scherzo[/typography]

Anton Bruckner drew upon the mythical associations of horns and trumpets in the Scherzo of Symphony No. 4 in E-flat Major. Listen to the sense of quiet excitement and anticipation Bruckner creates in the opening of this movement as a medieval forest awakens. Notice the sound of distant, echoing horn and trumpet calls around 1:27. At 4:05 you’ll hear a more pastoral trio section before the return of the Scherzo.

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Listen to Daniel Barenboim and the Vienna Philharmonic perform Bruckner’s entire Symphony No. 4 here. The opening of the first movement, which also features the horn, emerges out of silence. The hushed string tremolo creates an intense rumble which seems otherworldly.

Did I miss any significant pieces which are inspired by the hunt? Share your own music in the thread below.

[quote]The basic hunting myth is of a kind of covenant between the animal world and the human world. The animal gives its life willingly, with the understanding that its life transcends its physical entity and will be returned to the soil or to the mother through some ritual of restoration. -Joseph Campbell, “The Power of Myth”[/quote]

Pop Meets Classical

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Recently, I ran across an interesting post by Kathryn Judd, a member of the Rochester Philharmonic Orchestra’s marketing team, called Rachmaninoff Goes Pop. It showcases famous Rachmaninoff melodies which were turned into pop songs.This got me thinking about how many other melodies from classical music have found their way into pop music.

[typography font=”Cantarell” size=”28″ size_format=”px”]Stranger in Paradise[/typography]

The first music to come to mind was the Polovtsian Dances from the opera Prince Igor by the Russian Romanticist, Alexander Borodin (1833-1887). First listen to this beautiful melody as Borodin wrote it:

https://www.youtube.com/watch?v=YabEfOQRG3U

The 1953 musical Kismet adapted Borodin’s music. Here is how it sounds as Stranger in Paradise:

[typography font=”Cantarell” size=”28″ size_format=”px”]A Groovy Kind of Love[/typography]

You wouldn’t think that the Rondo from Sonata No. 5 by Clementi (1752-1832) would be ripe pop song material…

…But it became A Groovy Kind of Love, released in 1965 by Diane and Annita, and later covered by Phil Collins in the 1980’s:

[typography font=”Cantarell” size=”28″ size_format=”px”]Apocalyptica’s Hall of the Mountain King[/typography]

Here is In The Hall of the Mountain King from Peer Gynt by Edvard Grieg (1843-1907):

https://www.youtube.com/watch?v=hDi8Smb4KeI

The Finnish progressive metal band Apocalyptica created its own version of the Grieg. The descending chromatic intervals in the melody and the chord progression seem at home in the rock genre:

[typography font=”Cantarell” size=”28″ size_format=”px”]What Do You Think?[/typography]

In the Baroque era and earlier it was common to “steal” melodies. Handel used popular melodies, as well as recycling his own. Later, composers paid tribute to existing music and sometimes influences subconsciously crept into their writing. Leonard Bernstein made a clear reference to the end of Stravinsky’s Firebird in Make Our Garden Grow in Candide.

This kind of musical adaption can work as long as the new creation brings its own unique slant and as long as it’s done with musical integrity. When classical music is dumbed down and sanitized (a melody stripped of its original rich harmony), it is a true desecration. What do you think? Are the examples above musically successful? Should pop musicians look to classical music for ideas? What other pop songs do you know which draw inspiration from classical music?

Vibrating Strings

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Have you ever wondered what a vibrating violin string looks like in slow motion? Here is an interesting demonstration from the Discovery Channel. Notice that the E and G strings are vibrating sympathetically with the bowed A and D strings.

As string players, our goal is always to draw the most resonant sound from the instrument. It’s possible for the bow to slip and slide on the surface, never fully catching the string and missing the deep, focused “core” of the sound. At the same time, pressing will dampen the natural vibrations of the string. The bow arm should remain relaxed and springy, with natural weight transferring into the string. The energetic flow of the bow is essential from the moment the bow is pulled or pushed. Imagine the sound you want to produce and then listen carefully as you play. Continue to strive for a better tone every day.

[typography font=”Cantarell” size=”28″ size_format=”px”]Is the entire universe vibrating strings?[/typography]

Dr. Micho Kaku, who works in string theory, thinks so and offers interesting ideas in this Big Think talk. NOVA’s Elegant Universe: Resonance in Strings explains the theory further.