Personal Summary / Bio
Jude Ziliak is a New York-based violinist and student of performance practices of the past, active this year from Miami to Myanmar. In the 2013-14 season, he appears with the American Bach Soloists, Gotham Chamber Opera, Clarion Music Society, American Classical Orchestra, Trinity Baroque Orchestra, Sonnambula, New Vintage Baroque, New York Baroque Inc., Sheep Island Ensemble and as a soloist for the Brooklyn Ballet. He will give a lecture-recital for the 2014 conference of the Society for Eighteenth Century Music.
Under the auspices of Juilliard Historical Performance, where he earned a Graduate Diploma with Monica Huggett and Cynthia Roberts, he has been concertmaster for Juilliard415 under Jordi Savall at the Metropolitan Museum and Alice Tully Hall, and has performed with William Christie, Richard Egarr, Ton Koopman, and Masaaki Suzuki. Studies with Joshua Rifkin and David Schulenberg ground his approach to the study of performance practice.
Trained as a modern violinist at Rice University (MM), Boston University (BM), and the Royal College of Music, London, his activities have ranged from consort music of the sixteenth century to four dozen world premieres. His principal teachers were Bayla Keyes, Kenneth Goldsmith, and Dona Lee Croft. A former member of Lorin Maazel's Castleton Festival Orchestra, he has been concertmaster at the National Orchestral Institute under Andrew Litton and led unconducted orchestras there as a New Lights Fellow. Memorable chamber music collaborators have included Jaap Schroder, Masaaki Suzuki, and Robert Mealy. A devoted educator, Ziliak teaches privately in New York, and previously was on the chamber music faculty of the Shepherd School Preparatory Program.
"The last work, Mendelssohn’s famous Octet for Strings, was for me a revelation, believe it or not. It’s the sort of work that is often referred to as “beloved,” but I’ve generally had a “Bah! Humbug!” reaction to it. Played with steel strings, it seems a bit relentless—undifferentiated in dynamics, texture, and mood. In this performance the young musicians were able to create of world of varying tone and harmony with their period instruments. Jude Ziliak led the group. His centered attitude towards the music and his controlled, but warm statements of the leading themes emphasized the work’s structure and rhetoric in a most welcome way, adding some counterweight to its feverish pace. The ensemble made the score blossom with their clear lines and articulate phrasing." -- New York Arts, January 31, 2014