JAVS Summer 2026

The challenge was formidable. Candidates, who came from all over the world, were expected to perform quartets by Mozart, Beethoven, Schumann, Dvořák, Bartók, and Berg. Because he could not yet read alto clef very well, Young painstakingly marked fingerings throughout the music and immersed himself in preparation. He borrowed a fine Brescian viola and practiced as much as eight hours a day. Despite competing against accomplished career violists, Young possessed several advantages. He knew the Vermeer Quartet’s style from years of listening, was already familiar with much of the repertoire, and trusted his work ethic.

“I had to believe no one would out-prepare me,” he said.

The preparation paid off. After a successful first audition, during which he particularly impressed the quartet in Berg’s Lyric Suite , Young advanced to the final round. Ashkenasi, Vermeer’s first violinist, remarked: “You know this piece better than we do.” The second audition functioned more as a rehearsal than an audition, allowing the quartet to evaluate how each candidate might fit into the ensemble’s musical and interpersonal dynamics.

Figure 2. Vermeer Quartet (photo courtesy of Joel Gelys).

During Mozart’s “Hunt” Quartet, Young even disagreed with the group on a question of phrasing: “I thought it was important for them to hear what I had to say. In any serious ensemble, disagreements come up all the time. I wanted them to see how I could contribute to the process of resolving those disagreements.” The episode revealed an important aspect of Young’s musicianship. Successful chamber music requires not only technical mastery and stylistic insight, but also the ability to collaborate, communicate, and advocate thoughtfully for one’s musical convictions. The Vermeer musicians recognized in Young an experienced performer who combined strenuous preparation, musical imagination, and professional maturity.

Success, Responsibility, and the Search for Meaning Firmly established in the viola chair, Young spent twenty two years teaching, touring, and recording with the Vermeer. Renowned for its polished ensemble sound and sensitivity to nuance, the quartet earned international acclaim, and recordings of works by Haydn, Schnittke, Shostakovich, and Bartók received Grammy nominations. Among Young’s most significant artistic projects was Haydn’s The Seven Last Words of Christ . He helped assemble an unusually diverse group of religious and civic leaders— including Billy Graham, Martin Marty, Andrew Greeley, and Barack Obama—to provide the spoken portions required by Haydn’s original format. The Vermeer’s CD, performances, and broadcasts spanned more than two decades, reaching audiences far beyond the traditional chamber music community. They became an annual fixture of Chicago’s musical life during Holy Week.

He got the job.

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Journal of the American Viola Society / Vol. 42, Summer 2026 Online Issue