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.

Three Lullabies by Gershwin

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New YorkThe lazy days of summer are here in the Northern Hemisphere. For many of us this is a time to rest and recharge, whether in the cool shade of a back yard hammock or the sun and sand of the beach. What music could be more appropriately relaxing and soothing than a lullaby, with its gentle rocking rhythm and simple repetitive melody?

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

Barely out of his teenage years, George Gershwin wrote Lullaby in 1919 as a harmony exercise for his composition teacher. Even in this homework assignment, Gershwin’s distinct musical vocabulary seems fully formed. As you listen, consider what characteristics make the music sound distinctly “Gershwin.” Listen closely to the thick, shimmering inner voices under the melody. Notice that they often move in parallel motion. Do you hear anything that sounds like jazz or the French Impressionism of Debussy or Ravel? Pay attention to the harmony around 3:47-4:10 and 6:35-6:41. What kinds of emotions do you feel as you listen to the opening melody and the section beginning at 5:16?

https://www.youtube.com/watch?v=2z929ncJ9dg

[button link=”https://itunes.apple.com/us/album/gershwin-rhapsody-in-blue/id442994212″]Find on iTunes[/button] [button link=”http://www.amazon.com/Gershwin-Lullaby-string-orchestra/dp/B004VJI076″]Find on Amazon[/button]

[typography font=”Cantarell” size=”28″ size_format=”px”]Prelude No. 2[/typography]

Now let’s listen to a piece that Gershwin described as “a sort of blues lullaby.” This is Prelude No. 2 for piano, performed by Arthur Rubinstein:

[button link=”https://itunes.apple.com/us/album/gershwin-3-preludes-single/id586138952″]Find on iTunes[/button] [button link=”http://www.amazon.com/Bernstein-Clarinet-Sonata-Gershwin-Preludes/dp/B003QLY5HY”]Find on Amazon[/button]

Did you notice how Prelude No. 2, constructed on the blues scale, veers unexpectedly between minor and major? As the melody almost restlessly searches, there is something constant and unrelenting about the undulating chromatic harmony in the left hand. The tension between these two simultaneous musical personalities (one dreaming and striving, the other accepting reality) is resolved, only at the end of the phrase, as the impetuous top voice falls back in resignation. Despite its far flung adventures, the melody ends where it began (0:26). Notice that Gershwin never gives us a straightforward minor chord for these resolutions. It’s always a murky, crunching dissonance (1:10). Consider the overall mood of the music. Can you hear the deep sadness and yearning that characterizes the blues style? Did the last chord surprise you? Considering what came before, what is the significance of Gershwin’s choice to end this way?

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

Finally, let’s listen to the most famous of the three lullabies, Summertime from Gershwin’s opera, Porgy and Bess. Rob Kapilow provides a fascinating analysis in his What Makes It Great series. Can you feel the sultry, oppressive heat and humidity of the fictional Catfish Row, Charleston, South Carolina at the height of summer? How does the music create this atmosphere? Here is a clip from the opera:

[button link=”https://itunes.apple.com/us/album/gershwins-porgy-bess-new-broadway/id528266857″]Find on iTunes[/button] [button link=”http://www.amazon.com/Porgy-Bess-New-Broadway-Cast/dp/B007FEHA34″]Find on Amazon[/button]

As a fun bonus, let’s finish up with the bigger than life swing of Gershwin’s Broadway side. Here is the Girl Crazy Overture. Please share your thoughts in the thread below. Tell us what you hear in the music of George Gershwin.

Happy Independence Day

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4thFireworks1

John Philip Sousa’s marches embody qualities which are uniquely American. Listen to a British patriotic march like Elgar’s Pomp and Circumstance March No. 1 and you’ll hear the slow, stately, majestic character of England. By contrast, Sousa’s marches are faster and more brash, reflecting the optimistic innocence of a young country just beginning to flex its muscles on the world stage. Sousa’s marches provide a musical snapshot of the spirit of America around the turn of the twentieth century. For fun, listen to the British Grenadier Guards try to make The Stars and Stripes Forever conform to that regal British style. Do you notice something missing in this performance?

In celebration of Independence Day, let’s listen to one of Sousa’s most emotionally charged marches, Hands Across the Sea, which he composed in 1899. Here, it’s performed by the Eastman Wind Ensemble, conducted by Fredrick Fennell. It’s followed by other popular Sousa marches including Washington Post, El Capitan, and The Stars and Stripes Forever. You can find this recording on iTunes and at Amazon.

https://www.youtube.com/watch?v=h1ftdfB0NEM

Hands Across the Sea immediately grabs our attention with small surprises. Listen one more time to the short, rip roaring introduction and pause at 0:07. Think about all the possibilities that could have come next. You probably didn’t expect the musical curve ball that Sousa throws-these two defiant chords, resolving in a surprise D minor. At 1:10 we get another surprise as Sousa moves to B-flat major for the trio section. This melody is as noble as any of Elgar’s marches, but this is nobility through an American lens. Listen to the way the melody plays with our sense of expectation, stepping higher and higher before an almost choral-like resolution.

Now that we’ve heard these marches as Sousa wrote them, let’s finish up with this fun and virtuosic arrangement of The Stars and Strips Forever, played by two violinists from “The President’s Own” Marine Chamber Orchestra:

Jack Benny and the Violin

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Here are a few of Jack Benny’s classic comedy routines featuring the violin. In his performances, Benny was know for his “bad” violin playing. In reality, he was a competent violinist and the owner of a Stradivarius. Through the years, Jack Benny’s guests included Isaac Stern and Jascha Heifetz. His show broke racial barriers in the United States with its human portrayal of the African-American butler, Rochester, as well as with guests such as Louis Armstrong and the Ink Spots.

This clip with Gisele MacKenzie offers a glimpse into the genius of Benny’s violin-centered comedy.

Here is a full episode, guest starring Isaac Stern:

Here is a clip with Toni Marcus:

https://www.youtube.com/watch?v=B-Cl3-SUp_c

[typography font=”Cantarell” size=”28″ size_format=”px”]More Jack Benny Clips[/typography]

For more funny Jack Benny clips visit Jack Benny Shows Off His Strad.

Music on the Tarmac

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A330 Beijing

Last week, musicians from the Philadelphia Orchestra made news when they turned a three hour delay on the tarmac at the Beijing airport into an impromptu concert. You can watch the now viral video of their performance of the last movement of Antonin Dvorak’s “American” String Quartet.

Let’s listen to the Cleveland Quartet perform all four movements of this amazing piece. Pay attention to the way the four voices interact and trade around motives. Can you hear a musical conversation taking place between instruments? Listen to the rhythmic “motor” which propels the music forward. Notice subtle details that make the music sparkle, like the cello’s pizzicato line that begins at 0:14.

String Quartet No. 12 “American”, Op. 96…Antonin Dvorak (1841-1904)

[ordered_list style=”decimal”]

  1. Allegro ma non troppo (starts at beginning)
  2. Lento (starts at 9:05)
  3. Molto vivace (starts at 16:08)
  4. Finale: vivace ma non troppo (starts at 19:58)

[/ordered_list]

Now, let’s go back and listen again to pick up a few more details in the music. The first movement is built on sonata form, a structure we explored a few months ago in my post, Baseball and the Symphony. Can you hear sonata form at work here? Listen to the second theme at 1:30. Does it feel different emotionally from what came before? Starting around 4:44, can you hear Dvorak shaking up the themes and motives from the exposition, turning them upside down and inside out and developing them in exciting ways? Consider how we slide back into the recapitulation at 6:28. It’s the same music we heard at the beginning, but this time Dvorak throws us a surprise before fully returning home. Can you tell what’s happening and how it’s different from the beginning of the piece? Listen carefully to the harmony at 6:28.

The third movement starts off simply enough with all four voices playing the same music in octaves, but listen to how quickly things get delightfully complicated. Pay attention to the increasingly complex interplay of rhythms that follows this simple opening. Listen carefully and you’ll hear the melody line popping up in the cello at 16:40.

As you listen to the final movement, consider what feelings the music evokes…wild, fun-loving, excited anticipation? Like a real person, this movement’s musical personality is a complex mix of emotions which can’t be fully put into words. Near the end of the movement, there is a brief moment where the “motor” stops and the music suddenly becomes more introspective (23:29). Consider the emotional significance of this moment of reflection. Why does it come at this moment in the piece? What happens next?

Dvorak wrote this quartet in the summer of 1893 in Spillville, Iowa, a prairie enclave settled by Bohemian immigrants. This was the same year that the “New World” Symphony was written as a commission for the New York Philharmonic. Did you hear any of the motives from the Symphony slipping into this quartet? (If you missed it, go back and listen to the cello at 8:49 for just one example). Learn more about Dvorak’s trip to Iowa here.

Between 1892 and 1895, Dvorak directed the National Conservatory of Music in New York. He was interested in helping a still comparatively young America develop an authentic musical tradition. Dvorak urged composers to draw inspiration from Native American and African American folk traditions. Some listeners hear these uniquely American influences in the “New World” Symphony and this quartet. Others only hear the influence of the Czech folk music which inspired Dvorak throughout his life. Which side do you take? Share your thoughts on this music and the Cleveland Quartet’s performance in the thread below. You can find this recording on Amazon.

Spillville, Iowa in 1893
Spillville, Iowa in 1893

 

Voices from Bulgaria

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Young dancers, Pirin, Bulgaria, June 2006

If you haven’t heard the extraordinary and unique sound of the Bulgarian State Television Female Choir, take a moment and listen. This ensemble, made up of singers from villages across Bulgaria, keeps alive a distinctive style of singing which is centuries-old. What’s particularly striking are the rich, vibrant overtones of the voices. The chords ring and glow with perfect intonation and balance. Listening to this clip, it’s easy to lose yourself in the powerful, focused intensity of the sound. In a part of the world where East has traditionally met West, Middle Eastern influence can be heard in the vocal color and ornamentation.

Here is Stani Mi, Maytcho (Get Up, My Daughter), a Bulgarian folk song:

This excerpt is from Nonesuch’s 1988 recording, Le Mystere des Voix Bulgares, Volume 2. You can find it on iTunes and at Amazon. Listen to more excerpts from this set of recordings here. Share your thoughts on this music in the thread below. What are the qualities that make sound beautiful, expressive and moving? If you’re an instrumentalist, consider how the vibrant colors of the human voice inspire you to “sing” on your instrument.

Josef Gingold on Violin Playing and Teaching

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Recently, I found a few interesting links relating to Josef Gingold, the legendary violinist and teacher who died in 1995. If you’re not familiar with Gingold’s legacy, this short video offers insights into his life, distinguished career and great humanity.

Having studied with the nineteenth century Belgian violinist Eugene Ysaye, Gingold was one of the last links to an elegant earlier style of violin playing. Here is an excerpt from his 1976 recording Josef Gingold Plays Fritz Kreisler, featuring Kreisler’s Aucassin et Nicolette. It showcases his golden tone and the warmth of his playing:

[quote]No matter what you do, always con amore, always with love. You never play dutifully, you play beautifully.[/quote]

Gingold has many interesting things to say in this interview, conducted in the last years of his life by Kim Markl. He talks about the importance of constantly learning and changing throughout life. Despite his age, he exudes a love of the violin and a joy of discovery that suggests an amazing youthful vitality. He discusses the way styles of violin playing have changed over time, demonstrating in the style of Ysaye. He believes that the most fundamental aspect of good tone production is good intonation, which allows rich overtones to ring. When asked about teaching, Gingold stresses the importance of a student’s first teacher in establishing the correct foundation. He says that a good teacher must have patience and must recognize that each student is unique.

It’s also fascinating to hear Gingold’s thoughts on violinists of the past. In this episode of Music for the Fingerboard Gingold takes us through recordings of significant violinists of the past including Joachim, Sarasate, Auer, Kreisler, Huberman, Ysaye and Heifetz. Students of Gingold, such as Joshua Bell say that listening to recordings and studying the way legendary violinists played was an important part of their lessons with Gingold. Indeed, it’s important for all violinists to know the playing of the great violinists of the past. (Here are Parts 2, 3, 4 and 5 of Music for the Fingerboard).

Here is a recording of Josef Gingold playing Henryk Wieniawski’s Capriccio Valse. Wieniawski was a Polish violinist and composer who lived from 1835-1880:

The Rite of Spring Turns 100

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Stravinsky, sketched by Picasso
Stravinsky, sketched by Picasso

This week marks the 100th anniversary of the premier of Igor Stravinsky’s The Rite of Spring, one of the twentieth century’s most important and influential pieces. It was written as a ballet score for Sergei Diaghilev’s Ballets Russes in Paris and originally choreographed by Vaslav Nijinsky.

The Rite of Spring was revolutionary. Its dissonant sounds, complex rhythms and ferocious musical primitivism had never been imagined. The first audience, expecting the elegant classical ballet of the nineteenth century, was rudely confronted with the violent cacophony of a new twentieth century reality. The premier on May 29, 1913 at the Theatre des Champs-Elysees was so shocking that a riot broke out. You can read the New York Times’s account of the evening here.

The Rite of Spring shakes off the civilized world and offers a glimpse at raw nature in all of its earthy, potent glory. In this clip from a rehearsal, Leonard Bernstein suggests that the music conjures up primal feelings of connection to a living earth-the feeling of laying on the grass and hugging the earth on a warm day or wrapping your arms around a tree trunk. Disney’s use of the music in the soundtrack of Fantasia suggests something equally primordial. Stravinsky said that his unifying idea was “the mystery and great surge of the creative power of spring.”

Let’s listen to an excellent concert performance by conductor Jaap van Zweden and the Netherlands Radio Philharmonic (video below). Elements of the music may remind you of jazz and even rock. Early jazz musicians were influenced by composers such as Stravinsky and Maurice Ravel. At the same time, composers were becoming interested in the music of Asia and Africa which fed into jazz. You might also hear music that reminds you of Bernstein’s West Side Story.

Many of Stravinsky’s melodies for The Rite of Spring grew out of folk music from the most rural reaches of Russia. You may notice that the music is often constructed on an ostinato, or repeated motive or phrase. Listen closely to the way Stravinsky layers chords to create shocking new harmonies. Most importantly, enjoy the feel and groove of the rhythm. At times you will hear Stravinsky layer competing grooves on top of each other to keep us feeling off balance. For one especially exciting example of this, listen to the base drum beat at 13:30 and what follows.

The Rite of Spring is divided into two parts, The Adoration of the Earth and The Sacrifice (starting at 16:03). Listen to the way the piece grows out of a single high bassoon line. More and more instruments join and interrupt. Consider the mood that is set in this opening. Do you feel a sense of anticipation, as if something shocking is just around the corner? Does the music take sudden turns which surprise or even scare you? Can you feel a sense of motion and raw emotion in the music?

The second part centers around the tribe’s selection and sacrifice of a young girl (16:03). Listen to the way Stravinsky musically builds tension and anticipation as this ritual unfolds (25:44). The ballet ends with a Sacrificial Dance as the girl dances herself to death (29:09).

For more background and analysis of The Rite of Spring, watch this episode of Michael Tilson Thomas’s Keeping Score. Also hear the thoughts of composer/conductor Pierre Boulez and watch this video. Share your own thoughts about this monumental piece in the thread below. Tell us what you heard. What aspects of the music do you find particularly interesting? What emotions do you feel as you listen? What are your favorite moments in the piece?

Oblivion

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[divider]Take a moment and listen to this hauntingly atmospheric music by twentieth century Argentine tango composer, Astor Piazzolla. Oblivion was written in 1982 and used in the soundtrack of Mario Bellocchio’s film, Enricho IV. There are many versions of this piece for different combinations of instruments. This performance features Latvian violinist, Gidon Kremer and comes from his CD, Hommage a Piazzolla.

Like all great music, Oblivion conjures up a complex mix of emotions which cannot be put into words. What feelings does this piece evoke for you? As you listen, pay attention not only to the melody, but to the underlying harmony and rhythm in the bass and piano.

https://www.youtube.com/watch?v=BZo_4pm6L_0

For a contrast to Kremer’s performance, listen to this orchestral version played by the Montreal Symphony and Charles Dutoit. It’s an excerpt from a CD entitled Tangazo. If one version speaks to you more than another I’d be interested in hearing your thoughts. For more music by Piazzolla, visit my post featuring The Four Seasons of Buenos Aires.

Cellist, Yo Yo Ma has some interesting thoughts on Piazzolla’s music and the tango tradition in Argentina:

[quote]Tango is not just about dancing. It is a music of deep undercurrents. Because of what Argentina went through as a country, tango has become the soul of Argentina. Music is always one way people can speak when they aren’t allowed to express themselves otherwise. And Piazzolla’s tangos have the great strength of true voice…. Piazzolla’s music is endlessly passionate—full of yearning—and at the same time tremendously contemporary. There’s a quote to the effect that Piazzolla is the Ellington of Argentina, and in a way it’s true. He actually took the tango to another level by inhabiting his music. The music grew in him, and he adeptly incorporated the influences of his surroundings—whether from New York, Paris, or Buenos Aires. During the almost forty years he worked on his music, Astor Piazzolla tried many different variations—even tried an electronic ensemble! Because of this experimentation, and also his ingenuity, focus, and hard work, his music has many levels of expression and a tremendous depth. His is a truly successful synthesis of the tango and the contemporary.[/quote]

Here is an excerpt from Yo Yo Ma’s recording called, Soul of the Tango: The Music of Astor Piazzolla.