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Aaron Parks, Invisible Cinema Photograph by Tonu Tormis. About 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.
The 1984 ECM album was the vehicle that introduced the revolutionary music of to audiences outside Eastern Europe and initiated what was to become one of the most extraordinary musical careers of the late 20th century. Like many of the first generation American minimalists, he limited himself to diatonic harmonies and generated pieces by setting processes in motion, but the radical simplicity he achieved was the result of religious contemplation that was at least as, if not more, formative than his quest for a new musical aesthetic. The result was music suffused by an unhurried, luminous serenity, and while it was distinctly contemporary, it had an archaic quality that tied it to the music of the very distant past. The three instrumental pieces recorded here (one of which appears in two versions) were among the first wrote in his newly developed style, which came to be known popularly as holy minimalism. (The composer prefers the term tintinnabulation, because in his words, 'The three notes of the triad are like bells.' ) Fratres, originally for chamber orchestra, is undeniably 's most popular work and exists in well over a dozen versions, two of which are included here.
And bring great nuance and sensitivity to the version for violin and piano. They play somewhat loosely with details of the score, but they are entirely in sync with the spirit of the piece, and it's a gripping performance. The violin part is hugely virtuosic and is breathtaking, particularly in the crystalline purity of the outrageously high harmonics that end the piece. The arrangement of Fratres for 12 cellos is an altogether more lyrical and meditative version, and the cellists of the play it with gorgeous tone and depth. Cantus in Memory of Benjamin Britten for string orchestra and bell is at once one of the composer's most brilliantly simple and profound pieces.
The first violins repeat a mournful descending figure, and each of the other sections then doubles the length of the note values of the part above it so that the note that opens the piece is held two beats by the first violins, but it is sustained for 32 beats by the double basses. There's nothing mechanical sounding about the piece, though, and by its ending, it has created a mood of devastating loss and grief. The first movement of Tabula Rasa, for two violins, prepared piano, and chamber orchestra, is the most enigmatic selection, full of unexpected long silences and flurries of frenzied activity, while the lovely, meditative second movement is more characteristic of the composer. Is joined by violinist and composer/pianist in a beautifully expressive performance, accompanied by leading the. Produced by, the visionary who 'discovered' and made it his mission to introduce him to Western audiences, the sound of the album is admirably clear and clean, except that there are some room noises in Tabula Rasa.
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Taxes and shipping are not included when determining the $35 minimum order size. Offer ends at 11:59pm PST on December 31, 2017. Sheet Music Plus reserves the right to cancel or change this offer at any time. Cello, piano Composed by Arvo Part (1935-). Set of parts. With Standard notation. Universal Edition #UE19563.
Published by Universal Edition (PR.UE019563). Item Number: PR.UE019563 ISBN 391.
Fratres (original setting for violin and piano) was commissioned by the Salzburg Festival and premiered on August 17th, 1980 at that very place. Composed in Part's very own Tintinnabuli- style, this piece allows many different settings because it is not bound to a specific tone color. 'The highest virtue of music, for me, lies outside of its mere sound. The particular timbre of an instrument is part of the music, but it is not the most important element.
If it were, I would be surrendering to the essence of the music. Music must exist of itself. Two, three notes. The essence must be there, independent of the instruments.'
Cello, piano Composed by Arvo Part (1935-). Set of parts. With Standard notation. Universal Edition #UE19563. Published by Universal Edition (PR.UE019563). Item Number: PR.UE019563 ISBN 391.
Fratres (original setting for violin and piano) was commissioned by the Salzburg Festival and premiered on August 17th, 1980 at that very place. Composed in Part's very own Tintinnabuli- style, this piece allows many different settings because it is not bound to a specific tone color. 'The highest virtue of music, for me, lies outside of its mere sound. The particular timbre of an instrument is part of the music, but it is not the most important element.
If it were, I would be surrendering to the essence of the music. Music must exist of itself. Two, three notes. The essence must be there, independent of the instruments.'
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Arvo Part Composer
If you have any suggestions or comments on the guidelines, please email us. All submitted reviews become the licensed property of Sheet Music Plus and are subject to all laws pertaining thereto. If you believe that any review contained on our site infringes upon your copyright, please email us. Read Sheet Music Plus's complete. Having known (and loved) the violin and piano music of this piece for years, I was delighted to find a cello arrangement. As a fairly experienced player, I regard this piece as very challenging and advanced.
To me, this music is ultimately more suited to violin than cello as the. Cello part does not seem to quite express the sparkling intensity of the music. That said, it is a lovely piece to explore on cello. 14 of 29 people found this review helpful. Was this review useful?.
5 Dave Location: San Antonio, TX Difficulty Level: Advanced. 2008-08-11 00:00:00.0 Get to know this modern masterpiece.