About the author: Richard E. Yaklich (BA, University of Southern Colorado; MM, Colorado State University; DMA, University of South Carolina) is currently serving as the Director of Orchestra/Strings at Florida Memorial College in Miami, as Director of the Jubilate Arts Academy Chamber Orchestra, and Assistant Conductor of the South Florida Youth Orchestra. He also served as a String Orchestra Consultant for the Brevard County School District in Titusville, Florida. Dr. Yaklich attended the Tanglewood Music Center where he studied conducting with Gustav Meier, Charles Dutoit, Leon Fleisher, Maurice Abravanel, and Seiji Ozawa. At the Conductor’s Institute he studied with Donald Portnoy, Samuel Jones, Larry Newland, and Paul Vernal. Dr. Yaklich will be guest conductor for the Maikop Orchestra and the Sochi Chamber Orchestra in Russia in 2003. In addition to his conducting, he is an active, cellist, teacher, and composer. A winner of the Walter Charles Conducting Fellowship, Colorado Arts and Humanities Grant, Allied Arts, Inc. Grant, he has also been listed in Who’s Who Among American Colleges and Universities.
2003 0-7734-6725-4 This book can be used as a guide for professional conductors, school directors, music libraries and reference libraries. The study details where to find recommendations for repertoire to program for various types of ensembles, and also to aid in programming. It also contains an annotated bibliography which critiques the numerous books available on orchestra repertoire, major music publishers, and lists sample programs from many orchestras around the United States.
2021 1-4955-0843-9 Dr. Yaklich breaks down and studies legendary Philadelphia conductor Eugene Ormandy's performing version of legendary Russian pianist Sergei Rachmaninoff's First Symphony. He also explores the relationship between the two musicians, professionally and personally.
2017 1-4955-0584-7 This work provides detailed annotations of Eugene Ormandy's scores with regard to his extensive alterations, particularly his modifications to orchestration, significant adaptations to dynamics, cuts and specific bowings. The goal is to give a glimpse into the making of "The Philadelphia Sound," or more appropriately, the "Ormandy Sound."