Joseph Joachim

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Image:Reutlingerphoto.jpg Joseph Joachim (June 28, 1831 – August 15, 1907) (pronounced YO-a-chim) was a violinist, conductor, composer and teacher. He is regarded as one of the most influential violinists of all time.

Contents

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Life

Joseph Joachim was born in Kittsee (Kopčany / Köpcsény), near Bratislava and Eisenstadt, in today's Burgenland area of Austria. At the time, Kittsee was part of the Esterhazy holdings in Hungary, and Joachim is considered to be Hungarian. Image:JJHouseKitt.jpg In 1833 his family moved to Pest, where he studied violin with Stanislaus Serwaczynski, the concertmaster of the opera in Pest. (Serwaczynski later moved to Lublin, Poland, where he taught Wieniawski). In 1839, Joachim continued his studies in Vienna (briefly with Miska Hauser and Georg Hellmesberger, Sr.; finally — and most significantly— with Joseph Böhm). He was taken by his cousin, Fanny Wittgenstein to live and study in Leipzig, where he became a protégé of Felix Mendelssohn. Twelve-year-old Joachim's 1844 performance of the Beethoven violin concerto in London was a triumph, and helped to establish that work in the violinist's repertory. Joachim was to remain a great favorite in England for the remainder of his life, and he came to look upon that country as his second home. Following Mendelssohn's death, Joachim stayed briefly in Leipzig, teaching at the Conservatorium and playing on the first desk of the Gewandhaus Orchestra with Ferdinand David. In 1848, Franz Liszt took up residence in Weimar, determined to re-establish the town's reputation as the Athens of Germany. There, he gathered a circle of young avante-garde disciples, vocally opposed to the conservatism of the Leipzig circle. Joachim was amongst the first of these. He served Liszt as concertmaster, and for several years enthusiastically embraced the new "psychological music," as he called it. In 1852 he moved to Hanover, at the same time dissociating himself from the musical ideals of the New German School (Liszt, Wagner, Berlioz, and their followers, as defined by journalist Franz Brendel) and instead making common cause with Robert Schumann, Clara Schumann and Johannes Brahms. His break with Liszt became final in August of 1857, when Joachim wrote to his former mentor: "I am completely out of sympathy with your music; it contradicts everything which from early youth I have taken as mental nourishment from the spirit of our great masters." Image:JJandAmalie.jpg Joachim's time in Hanover was his most prolific period of compositon. During this time, he frequently performed with Clara Schumann and with Brahms, both in private and in public. In 1860 Brahms and Joachim jointly wrote a manifesto against the "progressive" music of the New German School, in reaction against the polemics of Brendel's Neue Zeitschrift für Musik. The manifesto is generally considered to have been a faux pas, and it was widely greeted with ridicule and hostility.

On May 10, 1863 Joachim married the singer Amalie Weiss (Schneeweiss). In 1866, he moved to Berlin, where he became founding director of the Royal Academy of Music. There, he founded an orchestra, and, in 1869, the Joachim String Quartet, which quickly gained a reputation as Europe's finest.

In 1884, Joachim and his wife separated after he became convinced that she was having an affair with Brahms' publisher, Fritz Simrock. Brahms, certain that Joachim's suspicions were groundless, wrote a sympathetic letter to Amalie, which she later produced as evidence in Joachim's divorce proceeding against her. This led to a cooling of Brahms and Joachim's friendship, which was not restored until some years later, when Brahms composed the Double concerto in A minor for violin and cello, Op. 102, as a peace offering to his old friend.

Joachim remained in Berlin until his death from actinomycosis in 1907.

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Legacy

Among the most notable of Joachim's achievements were the revival of Johann Sebastian Bach's Sonate e Partite per violino solo, BWV 1001-1006, and particularly of Ludwig van Beethoven's Violin concerto in D major, Op. 61. Joachim was among the first to play the Mendelssohn violin concerto, which he studied with the composer. Joachim played a pivotal role in the career of Johannes Brahms, and remained a tireless advocate of Brahms's compositions through all the viscissitudes of their friendship. He conducted the English premiere of Brahms's Symphony No. 1 in C minor.

A number of Joachim's composer colleagues, such as Robert Schumann, Johannes Brahms, Max Bruch, and Antonín Dvořák composed concerti with Joachim in mind, many of which entered the standard repertory. Nevertheless, Joachim's solo repertoire remained relatively restricted. Despite his close friendship with Brahms, Joachim only performed the Brahms Concerto (D major, Op. 77) six times in his career. He never performed the concerti of Schumann (A minor) and Dvořák (A minor, Op. 53). The most unusual work written for Joachim was the FAE sonata a collaboration between Schumann, Brahms, and Albert Dietrich, based upon the initials of Joachim's motto, Frei aber Einsam (free but lonely). Although the sonata is rarely performed in its entireity, the third movement, the Scherzo in C minor, composed by Brahms, is still frequently played today.

Joachim's own compositions are less well known. He has a reputation as a composer of a short but distinguished catalogue of works. Among his compositions are various works for the violin (including three concerti) and overtures to Shakespeare's Hamlet and Henry IV. He also wrote cadenzas for a number of other composers' concerti (including the Beethoven and Brahms concerti). His most highly regarded composition is his Hungarian concerto No 2 in D minor, Op 11.

To Joseph Joachim

Belov'd of all to whom that Muse is dear

Who hid her spirit of rapture from the Greek,

Whereby our art excelleth the antique,

Perfecting formal beauty to the ear;

Thou that hast been in England many a year

The interpreter who left us nought to seek,

Making Beethoven's inmost passion speak,

Bringing the soul of great Sebastian near.

Their music liveth ever, and 'tis just

That thou, good Joachim, so high thy skill,

Rank (as thou shalt upon the heavenly hill)

Laurel'd with them, for thy ennobling trust

Remember'd when thy loving hand is still

And every ear that heard thee stopt with dust.

--Robert Bridges (1844-1930)

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Joachim's Instruments

Image:Joachim standing.jpg

  • As a child, Joachim played a Guarneri del Gesu, which he gave to Felix Schumann after he acquired his first Stradivarius.
  • In his Hanover years, Joachim played on a Guadagnini made in the 1767. [1]
  • He later bought a 1714 Stradivarius, which he played until 1885. [2]
  • He exchanged this instrument for a 1713 Stradivarius, which was later acquired by Robert von Mendelssohn and lent for life to Joachim's student Karl Klingler.
  • A 1698 Joachim Stradivarius is held by the Royal Academy of Music [3]
  • A violin, the ex-Joachim Stradivarius of 1715 is currently held by the Collezione Civica del Comune di Cremona. [4] It was presented to Joachim on the occasion of his Jubilee celebration in 1889.
  • Another 1715 Stradivarius, the Joachim-Aranyi. [5]
  • Another 1715 Stradivarius, later owned by George Eastman [6]
  • A 1722 Stradivarius, later owned by Burmester, Elman and Suk. [7]
  • Another 1722 Stradivarius, also owned by the Mendelssohn family. [8]
  • A 1723 Stradivarius [9]
  • A 1725 Stradivarius, later owned by Norbert Brainin [10] Currently played by Rainer Küchl.
  • The Ex Joachim, Joseph Vieland Viola by Gasparo da Salo, Brescia, before 1609 is held by the Shrine to Music No. 3368 [11], [12]
  • A violin by Francesco Ruggeri bearing the label Nicolaus Amati [13]
  • Joachim also played a Guarneri del Gesu, loaned by the Wittgenstein family, perhaps a 1737 Guarneri del Gesu? [14]
  • A 1767 Guadagnini [15]
  • A 1775 Guadagnini [16]
  • A Carlo Testore violin [17]
  • Among Joachims bows was a Tourte, previously owned by Ernst.
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Compositions

  • Op. 1 Andantino and Allegro scherzoso for violin and piano (1848, dedicated to Joseph Böhm)
  • Op. 2 Three Pieces (circa 1848-1852), Romanze, Fantasiestück, Eine Frühlingsfantasie.
  • Op. 3 Violin Concerto in One Movement (G minor, dedicated to Franz Liszt) (1851)
  • Op. 4 "Hamlet" Overture (1853)
  • Op. 5 Three Pieces for Violin and Piano: Lindenrauschen, Abendglocken, Ballade; (dedicated to Gisela von Arnim)
  • Op. 6 "Demetrius" Overture (Herman Grimm, dedicated to Franz Liszt)
  • Op. 7 "Henry IV" Overture (1854)
  • Op. 8 Overture to a Comedy by Gozzi (1854)
  • Op. 9 Hebrew Melodies for Viola and Piano
  • Op. 10 Variations for Viola and Piano (circa 1860)
  • Op. 11 Violin Concerto No. 2 in D Minor "in the Hungarian Manner" (1861)
  • Op. 12 Notturno for Violin and Orchestra in A Major (1858)
  • Violin Concerto No. 3 in G major (1875)
  • Op. 13 Elegiac Overture "In Memoriam Heinrich von Kleist" (circa 1877)
  • Scenes from Schiller's Demetrius (1878)
  • Overture in C major (1896)
  • Two Marches for orchestra
  • Andantino in A minor for violin and orchestra (also for violin and piano)
  • Romance in B flat Major for violin and piano
  • Romance in C major for violin and piano
  • Variations for Violin and Orchestra in E minor

He also composed cadenzas for several major violin concertos, and made a virtuosic transcription for violin and piano of all 21 of Brahms's Hungarian Dances. In addition, in 1855 he made a version for full orchestra of Schubert's Grand Duo in C major for 2 pianos, which many scholars at that time considered (incorrectly) to be a draft of a symphony. Numerous editions, many in collaboration with Andreas Moser.

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Recordings

Recordings by Joseph Joachim (1903)

  • J. S. Bach: Partita for Violin solo no 1 in B minor, BWV 1002: 7th movement, Tempo di Bourée, Joseph Joachim (Violin), Pearl Catalog: 9851 (also on Testament (749677132323)).
  • Johannes Brahms: Hungarian Dances (21) for Piano 4 hands, WoO 1: no 1 in g minor (arr. Joachim), Joseph Joachim (Violin), Opal Recordings (also on Testament (749677132323)).
  • Johannes Brahms Hungarian Dance no. 2 in d minor (arr. Joachim), Joseph Joachim (Violin), Grammophon Catalogue # 047905; HMV, D88.
  • J. Joachim: Romance in C Major, Joseph Joachim (Violin), Pearl Catalog: 9851

Recordings of Joachim's Compositions

  • Violin Concerto No. 2 in D minor, Op. 11 "In the Hungarian Style" Rachel Barton Pine (Violin), Carlos Kalmar (Conductor), Chicago Symphony Orchestra, Cedille Records: CDR 90000 068
  • Violin Concerto No. 2 in D minor, Op. 11 "In the Hungarian Style": Elmar Oliviera (Violin), Leon Botstein (Conductor), London Philharmonic, IMP
  • Violin Concerto No. 2 in D minor, Op. 11 "In the Hungarian Style": Aaron Rosand (Violin), Louis de Froment (Conductor), Luxembourg Radio/Television Symphony Orchestra, Vox Catalog #: 5102
  • Violin Concerto No. 3, Takako Nishizaki (Violin), Meir Minsky (Conductor), Stuttgart Radio Symphony Orchestra, Naxos #: 8554733
  • Hamlet Overture, Op. 4, Meir Minsky (Conductor), Stuttgart Radio Symphony Orchestra, Naxos #: 8554733
  • Elegische Ouvertüre, Op. 13, Meir Minsky (Conductor), Stuttgart Radio Symphony Orchestra, Naxos #: 8554733
  • Andantino and Allegro scherzoso, Op. 1: Andantino, Marat Bisengaliev (Violin), John Lenehan (Piano), Naxos #: 553026
  • Romance in B flat major, Marat Bisengaliev (Violin), John Lenehan (Piano), Naxos #: 553026
  • Hebrew melodies, Op. 9, Anna Barbara Dütschler (Viola), Marc Pantillon (Piano), Claves #: 9905
  • Heinrich IV Overture, Op. 7 (2 pianos, arr. Johannes Brahms), Duo Egri-Pertis, Hungaroton #: 32003
  • Variations for Viola and Piano, Op. 10 (Numerous recordings)
  • Variations for Violin and Orchestra in E minor, Vilmos Szabady (Violin), László Kovács (Conductor), North Hungarian Symphony Orchestra, Hungaroton #: 32185
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Joachim's Students

fr:Joseph Joachim hu:Joachim József (hegedűművész) ja:ヨーゼフ・ヨアヒム ru:Иоахим, Иосиф (скрипач)

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Literature

Image:JJM.jpg

  • Johannes Joachim and Andreas Moser (eds.), Briefe von und an Joseph Joachim, 3 vols., Berlin: Julius Bard, 1911-1913
  • Andreas Moser (ed.), Johannes Brahms im Briefwechsel mit Joseph Joachim, 2nd ed., Berlin: Deutsche Brahms-Gesellschaft, 1912.
  • Letters From and To Joseph Joachim, selected and translated by Nora Bickley with a preface by J. A. Fuller-Maitland, New York: Vienna House, 1972.
  • Andreas Moser, Joseph Joachim: Ein Lebensbild, 2 vols. Berlin: Verlag der Deutschen Brahms-Gesellschaft, vol. 1: 1908; vol. 2: 1910.
  • Andreas Moser, Joseph Joachim: A Biography, translated by Lilla Durham, introduction by J. A. Fuller Maitland, London: Philip Wellby, 1901.
  • J. A. Fuller-Maitland, Joseph Joachim, London & New York: John Lane, 1905.
  • F. G. E., Joseph Joachim, Musical Times, 48/775 (September 1, 1907): 577-583.
  • Hans Joachim Moser, Joseph Joachim, Sechsundneunzigstes Neujahrsblatt der Allgemeinen Musikgesellschaft in Zürich, Zürich & Leipzig: Hug & Co., 1908
  • Karl Storck, Joseph Joachim: Eine Studie, Leipzig: Hermann Seemann Nachfolger, n.d.
  • Joachim, Anne Russell; The Etude, (December, 1932) 884-885.
  • Siegfried Borris, Joseph Joachim zum 65. Todestag, Oesterreichische Musikzeitschrift XXVII (June 1972): 352-355.
  • Barrett Stoll, Joseph Joachim: Violinist, Pedagogue, and Composer, Ph.D. Diss., Univ. of Iowa, 1978.
  • Brigitte Massin, Les Joachim: Une Famille de Musiciens, Paris: Fayard, 1999.
  • Beatrix Borchard, Stimme und Geige: Amalie und Joseph Joachim, Biographie und Interpretationsgeschichte, Wien, Köln, Weimar: Böhlau Verlag, 2005. ISBN 2-213-60418-5
  • Robert W. Eshbach, Free but Lonely: The Education of Joseph Joachim 1831-1866; forthcoming.
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Scholarship

Prof. Dr. Beatrix Borchard, Hochschule für Musik und Theater, Harvestehuder Weg 12, 20148 Hamburg, Tel. 040-42848-2855 email: beatrix.borchard@musikhochschule-hamburg.de

Robert W. Eshbach, Associate Professor of Music, University of New Hampshire, Durham NH 03824 Tel: 603-862-3241 email: reshbach@unh.edu Requests: original documents, photographs, or information concerning Joachim's life and music.

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