Highly honored sir, you call Joachim only the leading German violinist? I find him to be the leading performing musician altogether — an ideal of perfection. With his incomparable mastery he has terrified me and laid me low — but the feeling of artistic elevation that I owe to him won out in the end.
Hans von Bülow to Franz Wüllner, 1 December, 1866
(Berlin SBPK: Mus. ep. Hans von Bülow 1537)
This website is dedicated to the life and art of Joseph Joachim. The information on the site derives from my ongoing research and writing, which I am publishing here in the spirit of modern, open-source scholarship. For copyright reasons having to do with source material, some of it remains password protected, and not available to the public. Information on this site is grouped in categories. The detailed Biographical Posts begin here (“Kittsee, 1831”), and continue as a series of linked articles. There are some gaps in the links — this is, as I say, an ongoing project. A Brief Biography begins below (“Joseph Joachim”).
In general, if you wish to use anything you see on this site, especially copyright material, please acknowledge the source. Those few with whom I have shared protected information are requested to keep their password secret, and not to make public any information that is not already in the public domain.
The WordPress blog format does not allow me to organize posts as I wish: it organizes posts by date, which is to say, randomly. I am, however, linking the Biographical Posts in sequence, and organizing all of the material in the INDEX. Content is also searchable using the “search” function.
I wish to acknowledge the invaluable and generous support of the University of New Hampshire, without which this work would not have been possible.
Robert W. Eshbach Associate Professor of Music Emeritus
University of New Hampshire
reshbach (at) unh.edu
Sold at Sotheby’s on December 13, 2022:
Joachim. Collection of printed and manuscript music belonging to Joachim and his family.
Collection of printed and manuscript music belonging to Joachim and his family, WITH A MANUSCRIPT FULL SCORE OF JOACHIM’S OVERTURE DEMETRIUS,REVISED BY JOACHIM
the printed scores including by Bach (including a Breitkopf edition of six violin sonatas with piano accompaniments by Schumann, INSCRIBED BY SCHUMANN TO JOACHIM), Beethoven (Peters editions of the quartets op.18, arranged for piano four hands, inscribed “Joh. Joachim Pforta, d. 12 Sept. 1883”, and the violin concerto op.61), Gluck (a Peters edition of Iphigénie en Aulide, belonging to Marie Joachim), Mozart (a Peters vocal score of La clemenza di Tito inscribed by Marie Joachim), Tartini, Leclair, Spohr, Schubert, Mendelssohn (including a Peters edition of overtures arranged for piano four hands belonging to Johannes Joachim), Joachim (op.2 no.1, Romance), Schumann (first editions of Bunte Blätter, op.99, and Albumblätter, op.124), Ernst Rudorff (Variations op.24, inscribed by the composer), Brahms (including Ungarische Tänze, arranged for violin and piano, vols.1-3, vol. 3 without the violin part), and Heinrich von Herzogenberg (full score of Symphony no.2, inscribed by the composer “Seinem lieben Freunden Joseph Joachim Weihnacht 1890 HH”)
the manuscript comprising a scribal full score of Joachim’s orchestral overture Demetrius, op.6, notated in brown ink on one 16-stave system per page, dated by the scribe at the end (“Berlin, den 28sten August 1854″), WITH EXTENSIVE PENCIL ADDITIONS AND CORRECTIONS IN JOACHIM’S HAND, the title-page annotated by Joachim (“Umarbeitung einer frühern Ouverture”), 79 pages, oblong 4to (25.5 x 33.5cm), contemporary cloth, no place, [1854 and later]
33 volumes in all, various sizes, bound in with the volume containing Beethoven’s op.61 some manuscript items, including a sonata by Tartini, possibly marked up by Joachim, mostly cloth, nineteenth century, the inscription by Schumann on one edition cropped
A remarkable collection of volumes from the library of arguably the greatest violinist of the nineteenth century. Of particular interest is the score of Joachim’s Demetrius overture, composed 1853-1854 and later revised – a fine example of what the composer himself termed ‘psychological music’.
I would be delighted to hear from the buyer of this collection. The manuscript copy of the Demetrius Overture is of great historical importance, and should not be lost to scholarship. Please contact me at: reshbach(at)unh.edu. Thank you!
Introduction: The Creative Worlds of Joseph Joachim Robert Whitehouse Eshbach
PART ONE: Identity
1. “Of the Highest Good”: Joachim’s Relationship to Mendelssohn R. Larry Todd
2. Joseph Joachim and His Jewish Dilemma Styra Avins
3. Joachim and Romani Musicians: Their Relationship and Common Features in Performance Practice Mineo Ota
PART TWO: Joachim as Performer
4. Joachim’s Violins: Spotlights on Some of Them Ruprecht Kamlah
5. (Re-)Enchanting Performance: Joachim and the Spirit of Beethoven Karen Leistra-Jones
6. “Thou That Hast Been in England Many a Year”: The British Joachim Ian Maxwell
7. Joachim at the Crystal Palace Michael Musgrave
8. “Music Was Poured by Perfect Ministrants”: Joseph Joachim at the Monday Popular Concerts, London Therese Ellsworth
9. “Das Quartett-Spiel ist doch wohl mein eigentliches Fach”: Joseph Joachim and the String
Quartet Robert Riggs
10. Professor Joachim and His Pupils Sanna Pederson
11. Performers as Authors of Music History: Joseph and Amalie Joachim Beatrix Borchard
12. At the Intersection of Performance and Composition: Joseph Joachim and Brahms’s Piano
Quartet in A Major, Op. 26, Movement III William P. Horne
PART THREE: Joachim as Composer
13. Re-considering the Young Composer-Performer Joseph Joachim, 1841-53 Katharina Uhde
14. “Franz Liszt gewidmet”: Joseph Joachim’s G-minor Violin Concerto, Op. 3 Vasiliki Papadopoulou
15. Drama and Music in Joachim’s Overture to Shakespeare’s Henry IV Valerie Woodring Goertzen
16. “So Gleams the Past, the Light of Other Days”: Joachim’s Hebräische Melodien for Viola and Piano, Op. 9 (1853) Marie Sumner Lott
17. Tovey’s View of Joachim’s “Hungarian” Violin Concerto Robert Riggs
Bibliography
Index
2) I am interested in finding birth records from the Kittsee Kehilla from the late 1820s to the early 1830s. As far as I know, birth records exist only from the mid 1830s onward — too late to include Joachim.
3) I would like to find Margaret Alsager Ayrton’s unpublished diary.
4) I am always interested in seeing letters, photographs, memorabilia, etc. connected with Joachim. Please email me at the above address.
Joseph Joachim at the time of his Adelskasino debut
This priceless historical artifact was erroneously sold by Stair Galleries on September 13, 2008 as “Joseph Joachim Guernier — The Young Violinist,” “Oil on panel, 8 3/4 x 6 3/4 in. Provenance: Property from the New York Public Library, Astor, Lenox and Tilden Foundations.” It’s whereabouts are currently unknown.
Thank you! RWE
Desiderata:
Ich versuche, die Korrespondenz zwischen Joseph Joachim und Bettina von Arnim zu finden, die 1929 von der Auktionsfirma Henrici versteigert wurde. [Karl Ernst Henrici, Versteigerungskatalog 155, Berlin: am 5. Juli 1929.] Für jede Information, die zum Aufenthaltsort führt, wäre ich sehr dankbar.
Ich interessiere mich für Geburtsregister aus der Kehilla von Kittsee aus den späten 1820er bis frühen 1830er Jahren. Soweit ich weiß, existieren Geburtsregister erst ab Mitte der 1830er Jahre – zu spät, um Joachim einzuschließen.
Ich würde gerne das unveröffentlichte Tagebuch von Margaret Alsager Ayrton finden.
Ich interessiere mich immer für Briefe, Fotos, Erinnerungsstücke usw., die mit Joachim in Verbindung stehen. Bitte schreiben Sie mir eine E-Mail an die oben angegebene Adresse.
Ich interessiere mich für den Aufenthaltsort des Gemäldes von Felix Possart vom Joachim Quartett in der Singakademie zu Berlin (1903).
Joseph Joachim zur Zeit seines Debüts im Adelskasino (siehe oben): Dieses unschätzbar wertvolle historische Artefakt wurde irrtümlicherweise von Stair Galleries am 13. September 2008 als “Joseph Joachim Guernier – Der junge Geiger” verkauft, “Öl auf Holztafel, 8 3/4 x 6 3/4 Zoll. Herkunft: Eigentum der New York Public Library, Astor, Lenox und Tilden Foundations.” Der derzeitige Aufenthaltsort ist unbekannt.
* 28 June 1831 Kittsee (Kopčany/Köpcsény) Hungary (now Austria)
† 15 August 1907 Berlin
Violinist, Composer, Conductor, and Pedagogue. Founding director of the Königlich Akademischen Hochschule für ausübende Tonkunst (now Universität der Künste) Berlin. Joachim studied violin with Stanisław Serwaczyński and Joseph Böhm; composition with Gottfried Preyer and Moritz Hauptmann. He was a protégé of Felix Mendelssohn and Robert Schumann, and, in the early 1850s, Franz Liszt. In adulthood, he became a close friend and collaborator of Johannes Brahms and a celebrated opponent of the New German School of Wagner and Liszt. He is widely regarded as one of the most significant and influential musical personalities of the long 19th century.
LIFE
oseph Joachim was born in Kittsee (Kopčany/Köpcsény) Hungary, in what is now the Burgenland region of Austria. He was the seventh child of Fanny (Franziska) Figdor Joachim (* ca. 1791 — † 1867), the daughter of a prominent Kittsee wool wholesaler then residing in Vienna, and Julius Friedrich Joachim (* ca. 1791 — † 1865), also a wool merchant, born 20 miles to the south in the town of Frauenkirchen (Boldogasszony). [1] Joachim’s birth date, now commonly accepted as June 28, 1831, has never been authenticated. [2]
Joachim was an Austro-Hungarian Jew, whose ancestors had been banished from Vienna by Emperor Leopold I in the early 1670s and settled in the Kittsee Kehilla, one of the culturally prominent Sheva Kehillot (“Seven Jewish Communities”) that arose in the late 17th century, and stood under the protectorate of the powerful Esterházy family. [3] The Sheva Kehillot were among the wealthiest of the Hungarian Jewish communities, and their members were among the best-educated of Hungary’s Jews. Many were traders, who enjoyed considerably more privileges than the ghetto Jews of nearby Pressburg (Bratislava). As merchants, they travelled freely throughout the region, maintaining close contact with Vienna’s Jewish population, as well as with the large numbers of their co-religionists in Pressburg and Pest. In the early 1820’s Joachim’s maternal grandparents, Isaac (* 1768 — † 1850) and Anna (* 1770 — † 1833) Figdor, left Kittsee and settled in the Viennese Vorstadt of Leopoldstadt, the district along the Danube canal that was home to most of Vienna’s Jewish population. That the Figdors, as Jews, were permitted to live in Vienna at that time, before the loosening of residential restrictions in 1848, is an indication of special status, and suggests affluence. [4] Amongst the Figdors’ other grandchildren was Fanny Figdor Wittgenstein, the mother of the industrialist Karl Wittgenstein and the grandmother of the pianist Paul Wittgenstein and the philosopher Ludwig Wittgenstein. Fanny Wittgenstein served as a surrogate mother to Joachim throughout much of his youth.
In 1833, the Joachim family settled in Pest, then the capital of Hungary’s thriving wool industry. [5] Joseph’s interest in music was stimulated by hearing his older sister, who studied voice and accompanied herself on the guitar. He became fixated on the violin when his father brought him a toy violin from a fair.
[1] The siblings were: Friedrich (*1812 — †1882, m. Regine Just *1825 — †1883), Josephine (*1816 — †1883, m. Thali Ronay), Julie (*1821 — †1901, m. Joseph Singer, *ca. 1818 — †1870), Heinrich (*1825 — †1897, m. Ellen Margaret Smart *ca. 1844 — †1925), Regina (*ca. 1827 — †1862, m. William Östereicher, *ca. 1817, and later Wilhelm Joachim, *ca. 1812 — †1858), Johanna (*1829 — †1883, m. Lajos György Arányi, *1812 — †1877 and later Johann Rechnitz, *ca. 1812), and Joseph (*1831 — †1907, m. Amalie Marie Schneeweiss *1839 — †1899). An 1898 interview with Joachim [Musical Times, April 1, 1898, p. 225] claims that Joachim was “the youngest of seven children.” In his authorized biography, however, Andreas Moser claims that Joseph was “the seventh of Julius and Fanny Joachim’s eight children.” The name and fate of the eighth and last sibling is unknown.
[2] Joachim himself was unsure of his birth date. For the first 23 years of his life, he believed he had been born in July — either the 15th or the 24th (Carl Ferdinand Becker, for example, in his Die Tonkünstler des Neunzehnten Jahrhunderts, (Leipzig, 1849, p. 82), gives Joachim’s birthdate as July 15, 1831. Joachim was living in Leipzig at the time, and was, undoubtedly, the source of this information). Joachim apparently discovered the date of June 28 after receiving a Hochzeit-Geburts-Schein from Kittsee (see letter to Clara Schumann dated 21 August, 1863 [Schumann/BRIEFEDITION II, 2.1, p. 735]. Joachim’s boyhood friend Edmund (Ödön) Singer (* 14 October 1831, Totis, Hungary — † 1912) also calls into question the year of Joachim’s birth. “All reference books gave 1831 as Joachim’s birth year, as well as the birth-year of my humble self. […] Joachim himself asked me one day: ‘How does it happen that we are always mentioned as having been born in the same year? I am at least a year older than you!’ — I, myself, finally established my glorious birth-year after many years, while Joachim tacitly allowed the wrong date to persist.” [Edmund Singer, “Aus meiner Künstlerlaufbahn,” Neue Musik-Zeitung (Stuttgart), Vol. 32, No. 1, (1911), p. 8.]
[3] Deutschkreutz, Eisenstadt, Frauenkirchen, Kittsee, Kobersdorf, Lackenbach and Mattersburg (Hungarian: Német-Keresztur, Kismarton, Boldogasszony, Köpcsény, Kábold, Lakompak and Nagy Marton, respectively). Before 1924, Mattersburg was called Mattersdorf. Principal among these closely cooperating communities was Eisenstadt (Kismarton).
[4] Joseph’s maternal grandparents were Isaac [Israel, Isak] Figdor [Avigdor, Vigdor, Victor] (*1768 — †1850), k.k. priv. Großhändler [Imperial and Royal Wholesaler], and Anna Jafé-Schlesinger Figdor (*1770 — †April 12, 1833). Isaac and Anna had ten children: Regine, Karoline, Ferdinand, Fanny, Michael, Nathan, Bernhard, Wilhelm, Eduard, and Samuel. [E. Randol Schoenberg, GENI website: http://www.geni.com/people/Isak-Figdor/6000000008300436213?through=6000000007800493942 accessed 2/14/2011.]
[5] Wool was one of Hungary’s principal articles of commerce and a major source of capital for the Hungarian economy, primarily because it was one of the few export commodities that the Austrian government did not tax. Due to improved farming methods and the introduction of Spanish merino sheep to the region, Hungarian wool was of exceptional quality and highly prized by English woolen manufacturers. Each year, nearly 9 million pounds of wool were offered for sale at the spring trade fair in Pest, most of it bought by German merchants for resale in England. This trade in wool was largely carried on by strategically networked Jewish families, many of whom, like the Figdors, had relatives placed in each of the wool-trading capitals of Europe. The Figdor family connections extended from Pest and Vienna to Leipzig, London, and Leeds. This network of family and business connections was critical to the establishment, guidance, and promotion of Joachim’s musical career, which in its early years, not coincidentally, was centered in those same cities.
elov’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, May 2, 1904
First published in the Times, May 17, 1904, p. 11
Hans Joachim Moser: “Erinnerungen an Joseph Joachim und eine Gedenkrede.” ed. Dietz-Rüdiger Moser Literatur in Bayern, vol. 22/23, no. 88/89 (June/September 2007): 42-49
Joseph Joachim to Richard Wagner, Hanover, 6 Apr 1854
Folder 392-09-010, Special Collections Records, New York Philharmonic
Shelby White & Leon Levy Digital Archives ID: 392-09-010
In October, 1853, Joachim traveled with Liszt and a number of other Liszt disciples, to Basel, Switzerland, to visit Wagner, who was in political exile there. They spent time together at the Hotel Les Trois Rois — Wagner read aloud from his new Nibelung poem (Siegfried), and they ended up drinking the intimate “Du” to one another (something Bülow subsequently had a hard time making himself do with Liszt). Joachim was smitten with Wagner, and the elder man, for his part, promised Joachim that he could play concertmaster when the Ring cycle was eventually premiered.
This letter, written the following April, mentions Joachim’s resolve to perform Wagner’s Tannhäuser in Hanover — still a rather daring thing to do, given Wagner’s poor reputation with the music director there (Marschner), with the public, and especially Wagner’s status as a political radical (had Wagner attended, he would have been arrested, tried as a traitor, and risked a death sentence).
[Marschner on Wagner: “If Wagner were a real composer (apart from a spiritually rich person) and possessed all the natural gifts necessary for such a composer, he would certainly not have had to make such noise and resort to such means in order to achieve the fame as a tone poet that his ambition (or is it something else?) makes him thirst for.”]
A Wagner devotée, Joachim succeeded in pushing it through with the Crown and the theater intendant (who made the programming decisions) and Tannhäuser was indeed performed on January 21, 1855, with Niemann singing the title role. The Hanover opera house was new at that time, and considered one of the best in Germany. A prestigious performance.
Hannover, am 6ten April
1854.
Lieber Freund
Endlich erhältst du mit
vielem Dank die Lohengrin=Stücke
die hoffentlich noch zeitig genug ein=
treffen fürs Musikfest der Eidgenossen.
Meine Hoffnung, vor Schluß der Saison
noch eine Aufführung derselben und
der 9ten Sinfonie zu erbitten, ist
vereitelt — wie es eben meist mit
den besten Wünschen geht, hat man
2
Mich auf den nächsten Winter mit auch
diesem Lieblingswunsch vertröstet.
Eine gute Nachricht ward mir indeß
zu Theil: die Aufnahme deines Tannhaü=
ser in unser Opern=Repertoire. Da
der neue Intendant, Graf Platen, keine
Mühe scheut, gute Sänger zusammen
zu kaufen (leider der passendste Aus=
druck!) so darf ich für den kommenden
Winter wohl auf eine gute Ausführung
Deiner Oper rechnen, denn das Orchester
hier ist in vielen Stücken wohl das
3
beste Norddeutschlands.
Deine Freunde müßen schon einstweilen
mit den deutschen Theatern zufrie=
den sein, bis du sie zu den Nibe=
lungen zu dir in die Schweitz rufst:
Du vergißt doch nicht, daß Du mich
mit der Concertmeisterei bei dem
Orchester betrauen wolltest? Ich
werde Dich noch daran erinnern! Ob
ich aber im kommenden Sommer
nach Zürich komme, kann ich noch
nicht mit Bestimmtheit sagen —
4
außer der Lust, die vorhanden ist, fehlt es mir an
manchen Dingen dazu; aber vielleicht
wird es noch ausführbar. Vor der Hand
bleibe ich den April über hier, um
einen versprochenen Besuch Liszt’s
abzuwarten. Später gehe ich wahrschein=
lich nach Göttingen: nicht um mich
für ein Doctor=Examen zu prepari=
ren! Es ist aber hübscher gelegen
als das öde Hannover, und ich
möchte gerne einiges Musikalische
aufschreiben. In verehrungsvoller
Ergebenheit Dein
Joseph Joachim
Hanover, 6th April 1854.
Dear Friend,
At last, you are receiving the Lohengrin scores with much gratitude, which will hopefully arrive in time for the Swiss Music Festival [Music Festival of the Eidgenossen]. My hope to request a performance of the same and the 9th Symphony before the end of the season has been thwarted — as is often the case with the best wishes, they are usually delayed. I have been consoled with the promise of fulfilling this favorite wish of mine in the upcoming winter.
However, some good news has come my way: the inclusion of your Tannhäuser in our opera repertoire. Since the new intendant, Count Platen, spares no effort to buy good singers (unfortunately, the most fitting expression!), I can count on a good execution of your opera for the coming winter. The orchestra here is, in many respects, one of the best in Northern Germany.
For now, your friends will have to be content with the German theaters until you summon them to the Nibelungen in Switzerland. You haven’t forgotten that you intended to entrust me with the concertmaster position in the orchestra? I will remind you of it again! However, I cannot say with certainty yet whether I will come to Zurich next summer. Apart from the desire that exists, some things are still lacking; but perhaps it will still be feasible. For the time being, I will remain here throughout April to await a promised visit from Liszt. Later, I will likely go to Göttingen: not to prepare for a doctoral exam! Nevertheless, it is more pleasantly situated than the desolate Hanover, and I would like to write down some musical things. In admiring devotion, your
Obwohl Joseph Joachim im Milieu des deutschen romantischen Salons aufgewachsen ist, haben seine Biographen den entscheidenden Einfluss von Frauen auf seine künstlerische Entwicklung weitgehend ignoriert. Dies ist ein bedeutendes Versäumnis, wie Katharina Uhdes jüngste und kommende Publikationen zu Joachims Kompositionen zeigen. In seiner von Andreas Moser verfassten Autobiographie Joseph Joachim, Ein Lebensbild, deren frühe Ausgabe noch zu seinen Lebzeiten erschien, bemühte sich Joachim, sich so darzustellen, wie er später gepriesen werden sollte: als evangelischer christlicher Deutscher, der von einer Reihe ikonischer männlicher Vaterfiguren — darunter Joseph Böhm, Mendelssohn, Schumann und Liszt — gefördert wurde, als würdiger, prinzipientreuer Verfechter klassischer Traditionen und als Torwächter des preußischen Musikestablishments. Letztendlich hat ihm diese Selbstdarstellung jedoch sehr geschadet, da sie unter anderem eine warmherzige, sympathische ungarisch-jüdische Natur, eine romantische, virtuose Jugend, eine frühe, bedeutende Berufung als Komponist und eine umfangreiche und bedeutende britische Karriere verbarg. […]
Although Joseph Joachim came of age in the milieu of the German Romantic salon, his biographers have largely ignored the critical influence of women on his artistic development. This is a significant omission, as Katharina Uhde’s recent and forthcoming publications concerning Joachim’s compositions reveal. In his veiled autobiography, Joseph Joachim, Ein Lebensbild, written by Andreas Moser, the early edition of which appeared while he was yet alive, Joachim was at pains to present himself as he would eventually come to be eulogized: as an Evangelical Christian German, mentored by a series of iconic male father figures—including Joseph Böhm, Mendelssohn, Schumann, and Liszt—a worthy, principled upholder of Classical traditions, and a gatekeeper of the Prussian musical establishment. In the end, this self-portrayal has done him much harm, however, concealing inter alia a warmly sympathetic Hungarian-Jewish nature, a romantic, virtuoso youth, an early, significant vocation as a composer, and an extensive and important British career. […]
J. E. Sandys: Oration at Cambridge University
Upon the Awarding of the Mus. Doc. to Joseph Joachim, March 8, 1877
QUAE abhinc annos triginta in hac ipsa curia, coram Alberto Principe Cancellario nostro admodum deflendo, coram ipsa Regina nemini nostrum non dilecta, hunc, vixdum e pueris egressum, eximios cantus fidibus modulantem audivit; eadem Academia virum, per omnem Europam inter principes totius artis musicae iam diu numeratum, hodie reducem salvere iubet. Hodie nobis redditus est Orpheus, —utinam ipsa etiam adesset Eurydice; [1] nunc iterum, ut poëtae verbis utar quem Cremonae vicina genuit Mantus, Academi in silvis Orpheus
‘obloquitur numeris septem discrimina vocum
iamque eadem digitis, iam pectine pulsat eburno.’ [2]
Quid dicam de illis qui inter fautores tanti ingenii olim exstiterunt, de viris sempiternae memoriae Mendelssohnio et Schumanno? Nobis autem tamquam triplici vinculo hospitii coniunctus est Regiae Academiae Artium apud Berolinenses Professor, trium deinceps Professorum Cantabrigiensium amicus, primum Thomae Attwood Walmisley, deinde Wilelmi Sterndale Bennett, denique illius qui nuper horum sacrorum antistes a vobis est creatus,
Tantis igitur gloriatur praeceptoribus ars illa, quae in solitudine consolatur, in turba delectat vitaeque communis societatem iucundiorem reddit; quae fessos recreat, aegrotantibus, si non ipsam dare salutem (sicut olim insanienti Hebraeorum regi), auxilium tamen aliquatenus ferre hodie conatur; quae ipsum Dei cultum adiuvat, et intimos animi affectus exprimit, ipsa intima numerorum cantuumque nixa scientia. Quid autem si ars tanta Musarum nomine vere digna, in hac etiam Musarum domo quasi in ordinem redacta atque via quadam et ratione alumnis nostris tradita, inter severiora nostra studia sedem suam aliquando vindicabit? Quid si, inter tot ‘tripodas, praemia fortium,’ novam quandam laureolam Apollini Musagetae dedicare volueritis? Interim huic Apollinis ministro quem ipsum prope appellaverim Arcitenentem, huic interpreti certe divinorum in arte sua virorum Sebastiani Bach et Ludovici Beethoven; qui magnus ipse vates magnorum vatum memoriam non sinit interire; [5] hanc lauream nostram Apollinarem, hunc titulum Doctoris in Musica, donare licet: qui honos numquam antehac ab ulla Academia Britannica habitus est alienigenae, uno illo excepto, qui nascentis mundi primordia immortali cantu consociavit, Iosepho Haydn. [6]
At enim Λίνον μὲν ἐπ᾽ εὐτυχεῖ μολπᾷ Φοῖβος ἰαχεῖ, τὸν κάλλειφθιτόν
κιθάραν ἐλαύνων πλήκτρῳ χρυσέῳ. [7]
Gravamur hodie abesse popularem huius viri, alterum Musarum Teutonicarum decus, virum in difficillimo musicae genere facillimum, Iohannem Brahms. Quamquam autem ipse fato iniquo procul retentus est, carmen illius egregium quod ‘fatorum’ nuncupatur vesperi audietis; audietis etiam novum opus, quo non modo ceteros omnes sed se ipsum superasse dicitur. Post tot triumphos nemo negabit tanto viro consentaneam esse requiem. Ceterum quo maiore animi aegritudine illum absentem desideramus, eo elatiore gaudio praesentem salutamus Iosephum Ioachim.
[2] Virgil, Aen. iv. 646 [recte: vi — RWE] [“Matching their gestures with the seven tones,
Striking the lyre, now with his fingers, now with his ivory plectrum.” — RWE]
[3] “Then the herald drew near, leading the good minstrel, whom the Muse loved above all other men, and gave him both good and evil; of his sight she deprived him, but gave him the gift of sweet song.” Homer, Od. Viii 61.
[4] In the context of the phrase “inter tot ‘tripodas, praemia fortium,'” the word “tripodas” refers to the ancient Greek tripod, which was a three-legged stool or stand often used as a ceremonial or artistic prize. It symbolized victory, honor, and recognition. In this context, “tripodas” metaphorically represents prestigious awards or accolades given to accomplished individuals or victors. — RWE
[5] Overture on the death of the patriot-poet Heinrich von Kleist, composed for this occasion. [Elegiac Overture ‘In Memoriam Heinrich von Kleist’, Op. 13 — RWE]
[7] “Now Apollo plucks his sweet-voiced lyre with a golden plectrum and a sad song follows his song of joy.” Euripides Heracles, H. F. 349.
Thirty years ago, in this very hall, in the presence of our esteemed Chancellor Prince Albert, and before our beloved Queen herself, this man, barely out of his childhood, was heard playing exquisite melodies on the strings of his violin. Today, the same Academy bids welcome to a man who has long been counted among the foremost in the whole art of music, as recognized throughout all of Europe. Today Orpheus has been restored to us—would that Eurydice [1] herself were also present! Now, once again, as the poet born in Mantua near Cremona says, Orpheus speaks in the forest of the Academy:
‘obloquitur numeris septem discrimina vocum
iamque eadem digitis, iam pectine pulsat eburno.’ [2]
What can I say about those who once stood among the admirers of such great talent, about men of eternal memory like Mendelssohn and Schumann? But for us, he is connected as if by a triple bond of hospitality, a Professor at the Royal Academy of Arts among the Berliners; he is also a friend of three successive Professors at Cambridge, first of Thomas Attwood Walmisley, then of William Sterndale Bennett, finally, that person who recently was appointed by you as the leader of these sacred rites,
Therefore, that art boasts such great masters which comforts in solitude, delights in the crowd, and makes the fellowship of common life more enjoyable; which refreshes the weary, and though it may not grant salvation itself (as it did once to the mad Hebrew king), strives today to offer some degree of succor to the sick; which aids in the worship of God himself and expresses the innermost emotions of the soul, relying on the profound understanding of numbers and the science of sacred song. But what if this art, worthy of the name of the Muses, organized even within this very house of the Muses and handed down to our students through a specific approach and system, should someday claim its place among our more serious pursuits? What if, among all these “tripods” [4] and “rewards for the brave,” you were to wish to dedicate a new kind of laurel to Apollo, the leader of the Muses? Meanwhile, this minister of Apollo, whom I have almost called the Arcitenens [“bow-carrier” — Apollo] himself, this interpreter of divine works in his own art, [5] and certainly of Sebastian Bach and Ludwig Beethoven, who are themselves great prophets, does not permit the memory of great prophets to perish. Our Apollinian laurel, the title of Doctor of Music, can indeed be bestowed upon him. This honor has never before been given by any British Academy to a foreigner, except for one, who united the beginnings of the nascent world with immortal music: Joseph Haydn. [6]
We are greatly saddened by the absence today of that beloved man, the other pride of the Teutonic Muses, the most adept in the most challenging genre of music, Johannes Brahms. However, although he himself has been kept far away by cruel fate, you will hear this remarkable composition of his, which is called “Fate,” this evening; you will also hear a new work, by which it is said that he has not only surpassed all others but even himself. After so many triumphs, no one will deny that such a great man deserves appropriate rest. However, the more we long for Brahms in his absence, the greater our joy in welcoming Joseph Joachim in his presence.
Das siebente Concert der russischen Musik-Gesellschaft am 3. Febr. War ein musikalisches Ereigniß durch die Mitwirkung Joachim’s. Derselbe spielte Beethoven’s Concert sowie drei ungarische Tänze nach Brahms, und genügt es zu sagen, daß derselbe sich in der Wiedergabe des Concerts selbst übertraf. Von den kleinen Sachen mußte er einen Tanz da capo spielen. Außer diesen Piecen wurde Rubinstein’s Characterbild “Iwan der Grausame” gespielt sowie ein Chor aus einer neuen russischen Oper “Opritschnik” von Tschaikowsky und die Volkmann’sche D moll-Symphonie. Rubinstein’s Composition machte auf das hiesige Publikum großen Eindruck, desgleichen die Symphonie. Der Chor hingegen zündete nicht sehr. —
Am 5. Febr. gab Joachim eine eigene Matineée im Theater unter Mitwirkung von Frau Alexandrowa und Nicolaus Rubinstein mit folgendem Programm: Ouverture zu “Rußlan und Ludmilla” von Glinka, neuntes Concert von Spohr, Arie aus “Rußlan” von Glinka (Frau Alexandrowa), Chaconne von Bach, Ouverture zu “Oberon,” Concert von Bruch, Schubert’s “Erlkönig” (Frau Alexandrowa) sowie Romanze und Ungarische Tänze von Joachim. Auch hier electrisirte Joachim das Publikum so, daß die Hervorrufe nicht enden wollten und schließlich eine Zugabe (Schumann’s Abendlied) erzwangen. Frau Alexandrowa sang mit einer Innigkeit, wie sie selten zu finden, und wurde auch durch Hervorruf ausgezeichnet. Besonderen Reiz hatte der “Erlkönig” noch durch das vollendete Accompagnement Rubinstein’s. Das Concert war im Ganzen sehr besucht und trug dem Concertgeber eine Netto-Einnahme von 1800 Rubel ein. —
Am folgenden Tage (den 6.) Abends war die zweite Quartett-Soirée der russischen Musik-Gesellschaft unter Mitwirkung Joachim’s sowie der H.H. Laub, Grimaly [recte: Hřmalý], Gerber, Fitzenhagen und N. Rubinstein. Aufgeführt wurden: Beethoven’s Kreutzer-Sonate (Rubinstein und Joachim), Violin-Suite von Bach (Joachim), Duo concertante für 2 Violinen von Spohr (Laub und Joachim) und A moll-Quartett Op. 132 von Beethoven (Joachim, Grimaly, Gerber und Fitzenhagen). Obgleich des Guten an diesem Abend wohl etwas zu viel geboten war, so waren wir doch sämmtlich sehr zufrieden damit, umsomehr, da uns Gelegenheit gegeben wurde, Joachim in jedem Genre, nämlich im Sonaten-, Solo- und Quartett-Spiel bewundern zu können. Und wie wurde er bewundert: Des Beifalls kein Ende, sodaß J. noch eine Gavotte von Bach zugeben mußte. Den Höhepunkt des Enthusiasmus erreichte das Publikum, als die beiden genialen Violinhelden Joachim und Laub zusammen auf das Podium traten, um sich zu messen. Ja, es war ein Wettkampf, wie ihn wohl so leicht keine zweite Stadt zu hören bekommt. Einer schien den Andern übertreffen zu wollen, und doch könnte man Keinen über den Andern stellen. Hatte der Eine mehr Ton, so spielte der Andere so zart, daß ihm Jener nicht folgen konnte, kurz, es war ein Hochgenuß, wie er nicht sobald wieder kommt. Zum Schluß, um noch Allem die Krone aufzusetzen, folgte das großartige A moll-Quartett von Beethoven. Joachim spielte ausgezeichnet wie immer und wurde darin von H.H. Grimaly, Gerber und Fitzenhagen kräftig unterstützt. Welcher Applaus auch hier folgte, brauche ich kaum zu bemerken und erwähne nur noch, daß man an diesem Abend die Quartettsoirée im großen Saal des Adligenclubs gab und derselbe ausverkauft war. —
Hall of the Nobility in Moscow
Neue Zeitschrift für Musik, vol. 68, no. 13 March 22, 1872), p. 136
Moscow.
The seventh concert of the Russian Musical Society on February 3 was a musical event due to Joachim’s participation. He played Beethoven’s concerto, as well as three Hungarian dances by Brahms, and suffice it to say that he surpassed himself in the rendition of the concerto. Among the smaller things, he had to play one dance da capo. In addition to these pieces, Rubinstein’s character picture “Ivan the Terrible” was played, as well as a chorus from Tchaikovsky’s new Russian opera “Oprichnik” and the Volkmann D minor Symphony. Rubinstein’s composition made a great impression on the local audience, as did the symphony. The chorus, however, did not ignite much enthusiasm. –
On 5 Feb. Joachim gave his own matinee in the theater with the participation of Ms. Alexandrova [Aleksandra Aleksandrova-Kochetova] and Nikolai Rubinstein with the following program: Overture to “Ruslan and Ludmilla” by Glinka, ninth concerto by Spohr, aria from “Ruslan” by Glinka (Ms. Alexandrova), Chaconne by Bach, Overture to “Oberon,” concerto by Bruch, Schubert’s “Erlkönig” (Ms. Alexandrova) as well as Romanze and Hungarian dances by Joachim. Here, too, Joachim electrified the audience in such a way that the call backs did not want to end and finally demanded an encore (Schumann’s Abendlied). Ms. Alexandrova sang with an intimacy that is rarely found, and was also called back. The “Erlkönig” was particularly enchanting due to Rubinstein’s accomplished accompaniment. The concert was very well attended overall, and brought the concert-giver a net income of 1,800 rubles. –
On the evening of following day (the 6th), the second quartet soirée of the Russian Music Society took place with the participation of Joachim as well as Messrs. [Ferdinand] Laub, [Jan] Grimaly [recte: Hřmalý], [Yury] Gerber, [Wilhelm] Fitzenhagen and N. Rubinstein. The following works were performed: Beethoven’s Kreutzer Sonata (Rubinstein and Joachim), Violin Suite by Bach (Joachim), Duo Concertante for 2 violins by Spohr (Laub and Joachim) and A minor Quartet Op. 132 by Beethoven (Joachim, Grimaly, Gerber and Fitzenhagen). Although there was a bit too much of a good thing this evening, we were all very satisfied with it, all the more so since we were given the opportunity to admire Joachim in every genre, namely in sonata, solo and quartet playing. And how he was admired: there was no end to the applause, so that J. had to perform a gavotte by Bach as an encore. The peak of enthusiasm was reached when the two genius violin-heroes Joachim and Laub took the stage together to compete. Yes, it was a competition the likes of which no other city is likely to hear. Each seemed to want to surpass the other, and yet one could not place one above the other. If one had stronger tone, then the other played so delicately that the former could not follow him. In short, it was a delight such as will not soon come again. Finally, to crown it all, came the magnificent A minor quartet by Beethoven. Joachim played superbly as always and was strongly supported by Messrs. Grimaly, Gerber and Fitzenhagen. I need hardly mention the applause that followed here, too, and I will only add that on this evening, the quartet soirée took place in the great hall of the Club of the Nobility, and that it was sold out. –
Josef Joachim in Petersburg. Stellung Des Künstlers in Russland. Von W. v. Lenz
Du bist der wahre grosse Mann,
Der Lobeswort nicht hören kann.
Er sucht bescheiden auszuweichen
Und thut, als gäb es seines Gleichen! (Faust 2. Theil.)
Das so lange ersehnte Erscheinen von J. Joachim in Petersburg, vor Eintritt der concertsaison, war ein Ereigniss, das in Bedeutsamkeit weitaus die Saison überstrahlte. Petersburg hatte die ganze Reihe der grossen Violinisten des Jahrhunderts, mit der einzigen Ausnahme von Paganini, erlebt, Lipinski, in den derissiger Jahren, später Haumann, Sivori, Ole-Bull, Ernst, Vieuxtemps, Prume, Kontsky, das Quartett der Gebrüder Müller aus Braunschweig, den elegantin Artot, den biederkräftigen Laub, Auer, Wieniawski, Wilhelmj. Im Quartett- als im Concertstyl hatte Petersburg diese unter sich so verschiedene Virtuosen schätzen können. Unter diesen Umständen, bei der Einstimmigkeit der ausländischen Presse über Herrn Joachim, hatte man noch nie einen Künstler mit mehr Erwartung entgegen gesehen. Und noch nie hat ein Künstler mehr seinem Ruf entsprochen. Die Grossfürstin Helene, die Patronin der Russischen musikalischen Gesellschaft, hatte Herrn Joachim zu einem Besuch von Petersburg bestimmt. In ihrem Palais nahm der Künstler Wohnung.
Wer immer in Beethoven, einen Dichter erkannt hat, und diese Anschauung gewinnt, post tot errores! immer mehr Anhänger, einen Dichter, der in den Zeichen der Musik eine ideale Geschichte des menschlichen Gemüths und Herzens schrieb, der darf einem Violinisten sagen: “Gieb mir Beethoven und ich will Dir sagen, wer Du bist!” Herr Joachim gab uns bei seinem ersten Auftreten 3 Quartette von Beethoven, die den 3 Geistesstudien entsprachen, die man immer allgemeiner in Beethoven unterscheidet und die darin bestehen, dass Beethoven in seinen ersten Werken (in runder Zahl bis Op. 20) in den Formen, Rahmen und Farben von Haydn und Mozart, selbstständige Bilder schuf; in seinen mittleren Werken seine eigene, grosse Persönlichkeit entfaltete, eigene Ideen in eigenen Formen entwickelte — in seinen letzten Werken aber (über Op. 100 hinaus) die Musikidee von allen Schablonen entfesselnd, nur nach seiner Idee lebt, die er vorzugsweise auf das speculative Gebiet des menschlichen Gedankens versetzt, indem er für seine eigenartige Spekulation auch eigenartige Formen sich erfindet.
Herr Joachim hatte aus der ersten Beethovenperiode das B-dur-Quartett (Op. 18) gewählt, aus der zweiten das E-moll-, aus der dritten das Es-dur-Quartett. Eine rationelle Wahl der, bei uns, nur Laub (1856) Gerecht geworden war. Joachim möchten wir der deutschen Eiche, in deren symbolischer Bedeutung vergleichen. Alles in ihm, in seiner Leistung, ist trefflich und einfach, mächtig und stark. Keine Spur von Virtuosenthum, im Gebahren, in einem selbstzufriedenen Herauskehren einer für sich und an sich Geltung heischenden Persönlichkeit. Herr Joachim trat in den, der Musik besonders günstigen grossen Saal des Kaufmannsclubb, als ob er zu demselben nach längerer Abwesenheit zurückkehre. So auch war sein Empfang von Seiten des lange vor Anfang wie zu einem Fest dicht versammelten Publikums. Dieser Beifallssturm, dieses Akklamiren waren nicht gemacht, war ein beredtes Zeugniss der Herzensfreude, einmal das Höchste geniessen zu dürfen. Das kleine B-dur-Quartett, wie man es zur Unterscheidung von dem der dritten Periode zu nennen pflegt, ist Haydn und Mozart im Styl, mit einem Ausbau Beethoven’scher Phantasie (La Malinconia). Wir haben es nie so reizend gehört, nie eine Tonfülle im piano, wie die von Herrn Joachim, nie ein so durchgeführtes Verständniss des Ganzen im Einzelnen, des Einzelnen im Ganzen. Da wurde nichts hervorgehoben, da wartete nicht die zweite Stimme auf ihre Eintritte, um zu glänzen; sie wusste sich als Theil im Ganzen, in der Leistung zum Ganzen fand sie ihre Aufgabe. Jede Note dieses Quartettes ist ein langjähriger Einwohner Peterburgs [sic] dennoch erschien das Werk in vielen seiner Theile neu, vor allem in der an’s Herz greifenden Exposition des Andante-Motivs durch Herrn Joachim, und im Trio des Scherzos in dessen von den Violinisten “wiederhaarig” genannten, unbequem liegenden Bravour-Figur, deren technische Schwierigkeit der Künstler spielend überwand, in dem Prestissimo des Schlusses. Eine dermaassen beschleunigte Bewegung, bei so durchsichtiger Klarheit, ist eine Leistung in thesi, die Signatur der Gesammtleistung des Künstlers aber, die Unterordnung seiner Persönlichkeit unter die Egigenart des Dichters, dessen Interpretation er sich weiht. Herrn Joachim’s Gesammtleistung ist wie ein griechischer Tempel, über dessen Kunstausdruck, über dessen unnahbare Plasticität der Künstler (Mensch) nicht zur Erscheinung kommt. Nun schildert Beethoven hervorragend den Kampf des Menschen gegen das Leben. Dieser Kampf steht in Herrn Joachim’s Darstellungen unvergleichlich da, nicht in gleichem Maasse, der Kämpfer, das subjective Moment. Der Menschenbrust steht im Allgemeinen, der Mensch, das Menschliche, auch noch in der Kunst, am nächsten. Der Schmerz und die Freude, man will sie auch noch in dem die Kunst darstellenden Menschen mitfühlen, nicht nur in dem Austruck, den der Mensch dem Gefühl in der Kunst zu geben vermag. Das Subjekt, mit einem Wort, hat für den Menschen ein unmittelbareres Interesse, als das Objekt. Die objektivste (künstlerisch vollendeste) Darstellung ist die des Herrn Joachim, hat man unter den Richtungen zu wählen, so wird man der letzten den Vorzug geben müssen, steht sie gleich der Masse im Publikum entfernter. Das E-moll-Quartett ist spezifisch, dramatischen Inhaltes, hier fehlen nur die Bretter, die die Welt bedeuten, hier ist die Wolfsschlucht, hier pfeifen Freischützkugeln (1ster Satz). Vielleicht wäre hier in der ersten Stimme mehr Subjectivität am Platze gewesen. Das Ganze des Bildes, in Technik und Auffassung, war wiederum das Vollendetste, und das bedeutend, gegen alle Beispiele, beschleunigte Tempo im Finale eine traumartige Ueberraschung. Im Scherzo platzte an Herrn Joachim’s Violine die E-Saite. Ein über jede Schwierigkeit seines Instrumentes gebietender Virtuose, wie Herr Joachim, konnte in anderen Positionen den Satz zu Ende spielen. Dazu war dieser Künstler zu gewissenhaft, er versah sich nicht der Gelegenheit zu einer Virtuosenthat, die es Eindrucks selten verfehlt; er zog seine Saite auf, so natürlich, so einfach, wie bei einer Probe und das Publikum benutzte die Pause zu anhalgendem Applaudiren. Baillot machte es anders! Das war in Paris, wo der Seiltanz immer am Platz. Baillot platzte die E-Saite im Finale (Fugato) des Beethoven’schen C-dur-Quartetts; er fuhr stehend fort und selbst den greisen Cherubini sah Reporter applaudiren (1829). Es war aber auch darnach, das Finale!
XXVI. Jahrgang, no. 30 (24. Juli 1872), s. 233.
(Schluss.)
Die Darstellung des alle technischen und physischen Schwierigkeiten auf einmal bietenden Quartetts Op. 127 war die Krone des Abends, in Scherzo und Finale, insbesondere deren Tempi man noch nicht in diesem Feuer gehört hatte. Einheitlicheren, freudig erregieren Beifall mag selbst Herr Joachim noch nicht gefunden haben! Das Publikum erhob sich, die Grossfürstin becomplimentirte den Künstler in ihrer Separatloge. Hervorzuheben ist die unübertreffliche Mitwirkung unserer Herrn Dawidow (Cello), Pickel (2te V.), Weikmann (Viola). Und das Extraconcert der Russ. Mus. Gesellschaft, im bis auf den letzten Platz besetzten Saale der Adelsversammlung, erschien mit dem Violinconcert von Beethoven. Geist und Styl desselben unterschieden sich quantitative, nicht specifisch vom Quartettstyl. Die Figuren (Passagen) im zweiten und letzten Satze ausgenommen, ist das Concert nicht weniger die Verwerthung einer einheitlichen Idee durch die Orchesterstimmen, mit einer an deren Spitze gestellten Stimme als prima inter pares, als Ebenbürtige unter Ebenbürtigen, wie im Quartett, was Beethoven schon damit ausspricht, dass er in der Pauke, Solo, in 4 dumpfen, bedeutsamen Schlägen, sein Hauptthema aufstellt. Der erste Satz, ein gleichsam an das Publikum herantretender feierlicher Festzug, ist die Verherrlichung des Gesammtbegriffes musikalischer Kunst, nicht die Verehrung des goldenen Kalbes, in einem Solospieler. Wir haben das von Violinisten ersten Ranges bei uns oft gegebene Werk, nicht vollendeter im Einzelnen, nie zum Ganzen der Erscheinung, so abgerundet gehört. Trillerketten, so abgemessen so sing- und klangreich auf den letzten Stufen noch, haben wir nicht erlebt, nie eine so unerschütterlich feste und ruhige Haltung in einem Virtuosen beobachtet. Herrn Joachim’s Bogen scheint die Saite nie verlassen zu haben, sein Ansatz ist kein Anfang, immer Fortsetzung. In seinem eigenen Concert glänzte der Künstler im Violinconcert von Mendelssohn und in der Gesangsscene von Spohr, mit anderen Worten, in einem musialischen Inhalt, mit hervorragender erster Stimme, die dem Bilde seine Bedeutung aufdrückt. Das Seelenleben in Mendelssohn hörten wir nie edler, durchdachter darstellen. Hier wurde die Leistung durch ein subjektives Moment im Virtuosen unterstützt, der, in das Gedicht aufgegangen, dasselbe in persönlicher und künstlerischer Begeisterung recitirte, man darf wohl sagen sprach. Das Adagio war wie eine neue Schöpfung. Eine Kantilene wie diese, eine Vollendung in den Abschlüssen der Perioden begegneten wir, für unseren Theil, nur in Spohr und Bernhard Romberg, und im piano nicht in der krystallreinen Höhe von Herrn Joachim, eines Vertreters der grossen, der grössten Schule des Saiteninstrumentes, einer Schule, die den Virtuosenstand verschmäht, nur Musikgeist will und kennt. Dies ist Zeichen und Wappen des Künstlers. Das Spohr’sche Concert war demselben die Gelegenheit, die virtuose Seite des, Effektiverliebtheiten nicht abgeneigten Saiteninstruments herauszukehren, in triumphirenden Doppelgängen, heroischen Skalen über das ganze Register, mit dem ganzen, diesem Apparat überhaupt abzugewinnenden musikalischen Eindruck. Die Violinsonate von Tartini (G-moll), eine Romanze eigener Komposition, die ungarischen Tänze von Brahms zum Klavier vollendeten den Cyklus aller vom Künstler, zu einem Abend zusammengestellten Style. Die Sonate von Tartini ist von so innigem Gehalt, so dramatisch im dritten Satz, so humoristisch, dass man sie für ein gelungenes Produkt unserer Tage halten könnte. Jede inhaltliche Intention machte Herr Joachim geltend. Unter der Glätte seiner Bogenführung und der unerschütterlichen, plastischen Sicherheit, die ihn bezeichnet, verschwanden die technischen Schwierigkeiten, von denen man nicht begreift, wie sie vor mehr als hundert Jahren überwunden warden könnten. Damals war der Triller ein integraler Selbstbestandtheil, nicht wie in unseren Tagen, Verzierung, Abschluss
234
Und leider oft Spielerei. Wie Herr Joachim das geltend zu machen wusste! Sein Trillerstyl war hier wieder ein anderer als in Beethoven, Mendelssohn, Spohr.
Petersburg ist fortgeschritten in musikalischer Mündigkeit. Der Zugeständnisse, die ihm Herr Joachim im Salonstyl zur Begleitung des Pianoforte machte, brauchte es nicht, nicht des Abendliedes von Schumann, der Barcarole von Spohr, einer zweiten Auflage der Brahms’schen Tänze. Es ist immer ein missliches Ding, coram populo, vor einem die Gesammtheit des musikalischen Begriff symbolisierenden Orchester, ein Salonsprechen am Klavier, entstehen zu sehen. Ein Quartett auf dem Podium des Orchesters, hätte sich ganz anders gemacht, wäre dem Publikum viel interessanter, hätte der Begabung des Künstlers im grossen Styl mehr entsprochen, wäre auch etwas Neues gewesen, wie die Ausführung von zwei Concerten an einem Abend, etwas bei uns Neues war. Die Wahl der Ouverturen im Concert war eine treffliche, Coriolan, Euryanthe. Nur zu schnell nahm dieselben Herr Naprawnik, mit dem trefflichen Orchester der russischen Oper, wobei an Inhalt verloren geht, was etwa (wenn anders!) an Effekt auf das grosse Publikum gewonnen ist. An seinem zweiten Quartettabend gab Herr Joachim das Sextett für Streichinstrumente von Brahms, was bei uns neu. Ueberwältigend wirkte der prägnante Ausdruck des Humors in dem C-dur-Quartett von Haydn (Anfang in den 2 Violinen) dessen Minuetto wiederhot warden musste. Ein so tief gehender Humor, eine so sprechende Bedeutung ist uns nie auf der Geige vorgekommen. Nicht der Chaconne von Bach, eines archäischen Monuments, brauchte Herr Joachim, um in Petersburg der erste lebende violinist zu sein, der Ebenbürtige aller dagewesenen. Am Hofe des Grossfürsten Constantin bewunderten wir Herrn Joachim im Ottetto von Mendelssohn, von dem jede Note in Petersburg bekannt ist. Eben so grossen Beifall fand der Künstler in Moskau. Von einem Konservatorium zum andern andern angekündigt, von der Grossfürstin Helene auch nach Moskau berufen, wo Alles vorbereitet, das grosse Theater ausverkauft war, wäre dennoch Herr Joachim fast nicht mit seinem eigenen concert zu Stande gekommen. Die Erlaubniss des Hofministers in Petersburg, Chef aller kaiserlichen Theater, war durch den General-Gouverneur von Moskau einzuziehen. Man telegraphirte auch direct an die Grossfürstin. Die Stunde drängte, Versäumnisse waren vorgekommen, das Concert kam nur soeben im letzten Augenblick zu Stande, mit dem grössten Erfolg. Hier spielte unter Anderen, Herr Joachim mit Laub, Professor am Moskauer Konservatorium ein Duett von Spohr.
Neue Berliner Musikzeitung
Vol. 26, no. 30 (17 Juli 1872), p. 228
Josef Joachim in Petersburg. Position of the Artist in Russia. By W. v. Lenz
You’ve a truly great man’s ways:
He won’t hear a word of praise.
He’ll modestly defer to us
And act as if all were equals. (Faust 2nd part.)
The long-awaited appearance of J. Joachim in Petersburg, before the concert season, was an event that far outshone the season in importance. Petersburg had experienced the whole array of the great violinists of the century, with the sole exception of Paganini; Lipinski, in the thirties, later Haumann, Sivori, Ole-Bull, Ernst, Vieuxtemps, Prume, Kontsky, the quartet of the Müller brothers from Braunschweig, the elegant Artot, the strong and sober Laub, Auer, Wieniawski, Wilhelmj. Petersburg had been able to appreciate these virtuosi, so different from one another, in both the quartet- and concert style. Under these circumstances, with the unanimity of the foreign press about Mr. Joachim, no artist had ever been awaited with a greater sense of anticipation. And never has an artist better lived up to his reputation. Grand Duchess Helene, the patroness of the Russian Musical Society, had chosen Mr. Joachim to visit Petersburg. The artist took up residence in her palace.
Whoever has recognized a poet in Beethoven — and this view is gaining more and more followers, post tot errores! — a poet who, with musical symbols, wrote an ideal account of the human mind and heart, may say to a violinist: “Give me Beethoven and I will tell you who you are!” Herr Joachim gave us at his first appearance 3 quartets of Beethoven, which corresponded to the 3 psychological types that one always distinguishes more broadly in Beethoven, and that proceed from the fact that in his first works (in round number up to Op. 20), Beethoven created independent pictures in the forms, frames and colors of Haydn and Mozart; in his middle works, he developed his own great personality, his own ideas in his own forms — but in his last works (beyond Op. 100), he liberates the musical idea from all models, lives only according to his vision, which he prefers to transfer to the speculative realm of human thought by also inventing strange forms for his singular innovations.
Herr Joachim chose the B flat major quartet (Op. 18) from the first Beethoven period, the E minor quartet from the second, and the E flat major quartet from the third; a rational choice that, in our country, only Laub (1856) had done justice to. We would compare Joachim to the German oak, in its symbolic meaning. Everything in him, in his performance, is admirable and simple, powerful and strong. There is not a trace of virtuosity in his behavior; no self-satisfied display of personality that strives after recognition for, and in, itself. Herr Joachim entered the large hall of the Merchants’ Club, which is particularly conducive to music, as if he were returning to it after a long absence. So, too, was his reception from the audience that had crowded in long before the concert commenced, as if for a feast. This storm of applause, this acclamation, was not feigned; it was an eloquent testimony of heart’s joy to for once be allowed to enjoy the best. The little B-flat major quartet, as it is called to distinguish it from that of the third period, is in the style of Haydn and Mozart, with an elaboration of Beethovenian fantasy (La Malinconia). We have never heard it played so charmingly, never with such fullness of tone in the piano as by Herr Joachim, never such a realized understanding of the whole in the detail, the detail in the whole. Nothing was emphasized, the second voice did not wait for its entrance to shine; it understood itself as a part of the whole, in the service of the whole it found its role.
Every note of this quartet is a familiar resident of Peterburg [sic], yet the work appeared new in many of its parts, especially in the heart-stopping exposition of the Andante motive by Herr Joachim, and in the trio of the Scherzo with its uncomfortably situated bravura figure in the prestissimo of the conclusion, called “cranky” by violinists, whose technical difficulty the artist easily overcame. Such a rapid pace, with such transparent clarity, is an achievement in thesi, but also the signature of the artist’s overall achievement — the subordination of his personality to the unique character of the poet to whose interpretation he consecrates himself. Herr Joachim’s overall performance is like a Greek temple, above whose artistic expression, above whose unapproachable plasticity the artist (Mensch) does not emerge. Now, Beethoven masterfully describes the struggle of man against life. This fight is incomparable in Herr Joachim’s interpretations; not to the same extent the fighter, the subjective aspect. Broadly speaking, the person, the human, stands closest to the human breast — also in art. Pain and joy — one wants also to feel them sympathetically in the person representing the art, not just in the expression that the person is able to give to the artwork itself. The subject, in a word, has a more immediate interest for a man than the object. Herr Joachim’s is the most objective (artistically most perfect) representation. If one had to choose among approaches, one would have to give preference to the latter (though) it is less appealing to most of the audience. The E minor quartet is of specific, dramatic content; here, only the stage that represents the world is missing; here is the Wolf’s Glen; here the Freischütz-bullets whistle (1st movement). Perhaps more subjectivity would have been appropriate here in the first violin part. The whole of the presentation, in technique and conception, was again most accomplished, and the markedly rapid tempo in the finale, contrary to all precedent, a dream-like surprise. In the scherzo, the E string of Herr Joachim’s violin broke. A virtuoso like Herr Joachim, commanding every difficulty of his instrument, could finish the movement in other positions. This artist was too conscientious for that; he did not avail himself of the opportunity to perform a virtuoso deed, which rarely fails to impress — he replaced his string as naturally, as simply, as in a rehearsal and the audience used the pause for sustained applause. Baillot did it differently! That was in Paris, where the tightrope walk is always in place. Baillot broke his E string in the finale (fugato) of Beethoven’s C major quartet; he continued standing and reporters saw even the aged Cherubini applauding (1829). But after that came the finale!
Vol. 26, no. 30 (24. July 1872), p. 233.
(Conclusion.)
The performance of the Op. 127 Quartet, which presents all technical and physical difficulties at once, was the crown of the evening, in the scherzo and finale especially, whose tempi had never been played with such fire. Herr Joachim may never have heard more unanimous and joyfully excited applause! The audience rose and the Grand Duchess complimented the artist in her private box. The unsurpassable contributions of our Messrs. Davydov (cello), Pickel (2ndvln.), and Weikmann (viola) should be acknowledged. And the extra concert of the Russ. Mus. Society, in the hall of the nobility, which was filled to capacity, featured Beethoven’s Violin Concerto. Its spirit and style did not differ in quantity from music of the quartet. With the exception of the figures (passages) in the second and last movement, the concerto is not less the exploitation of a unified idea by the orchestral voices as in the quartet, with a voice placed at their head as prima inter pares, as equal [sic] among equals, which Beethoven states initially by setting up his main theme in the timpani, solo, in 4 sombre, significant beats. The first movement, a solemn procession approaching the audience, as it were, is the glorification of the overall concept of musical art, not the worship of the golden calf, in a solo player. We have often heard this work, given by first-rate violinists, incomplete in detail; never so well-rounded as a whole. We have never witnessed trills so measured, so melodious and resonant even on the final steps, nor have we observed such unwavering and calm composure in a virtuoso. Herr Joachim’s bow seems to have never left the string; his preparation is not a beginning but a continuation. In his own concert, the artist shone in Mendelssohn’s Violin Concerto and in the Gesangsscene by Spohr, in other words, in a musical content, with an outstanding principal voice that gives the image its meaning. We have never heard Mendelssohn’s spiritual life portrayed more nobly or thoughtfully. Here, the performance was supported by a subjective element in the virtuoso who, immersed in the poem, recited it with personal and artistic enthusiasm — one might even say, spoke it. The Adagio was like a new creation. A cantilena like this, a perfection in the endings of the periods, we encountered, for our part, only in Spohr and Bernhard Romberg, and in the piano not in the crystal-clear height of Mr. Joachim, a representative of the great, the greatest, school of the stringed instrument, a school that scorns the virtuoso status and only seeks and knows musical spirit. This is sign and emblem of the artist. Spohr’s concerto was an opportunity for him to show the virtuoso side of the stringed instrument, which is not averse to love of effect, in triumphant double stops, heroic scales spanning the entire range, producing a musical impression that could only be gained by employing all of these devices. Tartini’s Violin Sonata (G minor), a romance of his own composition, and Brahms’ Hungarian Dances with piano completed the cycle of pieces assembled by the artist for the evening. Tartini’s sonata is of such intimate content, so dramatic in the third movement, so humorous, that it could be considered a successful product of our day. Herr Joachim made every intention of the content tell. Under the smoothness of his bowing and the unshakable, sculptural certainty that characterizes him, technical difficulties disappeared that one cannot believe could have been overcome more than a hundred years ago. At that time, the trill was an integral component, not, as in our days, an ornamentation, a termination,
234
and unfortunately often a gimmick. How Herr Joachim knew how to manifest that! The style of his trills was different here than in Beethoven, Mendelssohn, and Spohr.
St. Petersburg has advanced in musical maturity. The concessions that Herr Joachim made to it in salon style with piano accompaniment were not necessary; not for Schumann’s Abendlied, Spohr’s Barcarole, or a second edition of Brahms’s dances. It is always an awkward thing to witness a salon-style performance with piano accompaniment, coram populo, in front of an orchestra, which symbolizes the entirety of the musical concepetualization. A quartet on the orchestra podium would have been much more fitting, much more interesting for the audience, and would have corresponded more to the talent of the artist in grand style. It would also have been something new, just as the performance of two concertos in one evening was something new for us. The choice of overtures in the concert was excellent: Coriolan, Euryanthe. However, they were conducted too quickly by Mr. Napravnik, with the excellent orchestra of the Russian Opera, losing in content what is gained (if anything!) in effect on the large audience. On his second quartet evening, Mr. Joachim performed the Sextet for Strings by Brahms, which was new to us. The concise expression of humor in Haydn’s Quartet in C major (beginning in the second violins) had an overwhelming effect, and its minuet had to be repeated. We have never witnessed such profound humor, such eloquent significance, on the violin before. Herr Joachim did not need Bach’s Chaconne, an archaic monument, to become the first living violinist in Petersburg, the equal of all who came before. At the court of Grand Duke Constantine, we admired Herr Joachim in Mendelssohn’s Octet, every note of which is well-known in Petersburg. The artist received equally great acclaim in Moscow. Announced from one conservatory to another, summoned by the Grand Duchess Helene also to Moscow, where everything was prepared and the grand theater sold out, Herr Joachim nevertheless almost failed to hold his own concert. The permission of the Court Minister in St. Petersburg, the chief of all Imperial theaters, had to be obtained through the Governor-General of Moscow. They also telegraphed directly to the Grand Duchess. Time was pressing, there had been delays, and the concert came together only at the last moment — with great success. Among other things, Herr Joachim played a duet by Spohr with Laub, a professor at the Moscow Conservatory.
The Times, London, Issue 18621 (May 28, 1844), p. 4.
Joseph Joachim acknowledging the audience, drawing thought to be by Mendelssohn, ca. May 1844 (?), with autograph texts by Julius Benedict and Felix Mendelssohn.
Brahms-Institut an der Musikhochschule Lübeck, D-LÜbi, ABH 6.3.97
Illustration in Valerie Woodring Goertzen and Robert Whitehouse Eshbach, The Creative Worlds of Joseph Joachim, Woodbridge: Boydell (2021), 28.
PHILHARMONIC SOCIETY
___________
The fifth concert took place last night, and the following was the programme:—
Sinfonia in B Flat (No. 4)—Beethoven.
Duet, “Stung by horror,” Miss Rainforth and Herr Staudigl (Pascal Bruno)—J. L. Hatton.
Concerto, violin, Herr Joachim—Beethoven.
Overture (Faust)—Spohr.
Duetto, “Pazzerello, O qual ardir,” Mr. Machin and Herr Staudigl (Faust)—Spohr.
Quintetto e Coro, “Ah! goda lor felicitatie,” the principal parts by Miss Rainforth, Miss A. Williams, Mr. Manvers, Mr. Machin, and Herr Staudigl (Faust)—Spohr.
PART II.
Overture (A Midsummer Night’s Dream)—Mendelssohn Bartholdy.
Scherzo (A Midsummer Night’s Dream)—Mendelssohn Bartholdy.
Song, with chorus, “You spotted snakes,” Miss Rainforth, and Miss A. Williams (A Midsummer Night’s Dream)—Mendelssohn Bartholdy.
Notturno, march, and finale chorus (A Midsummer Night’s Dream)—Mendelssohn Bartholdy.
Song, with chorus, “Joy, ’tis a glorious thought,” Herr Staudigl (Fidelio)—Beethoven.
Hunting chorus (The Seasons)—Haydn.
Leader, Mr. Loader [sic; recte: (John David) Loder]; conductor, Dr. F. Mendelssohn Bartholdy.
The society may almost be said in this concert to have taken a new position; in the selection of the music and in the style of its execution it was one of the finest public performances we have ever attended. For once the character of the vocal may be said to have approached that of the instrumental music, and hence this perfect ensemble.
Beethoven’s symphony is that one which, next to the Pastorale, may be said to be the most clear and obvious in its beauties. It has always, therefore, commanded public attention during its progress, and under the baton of Mendelssohn, might be said almost to chain down the ears of the audience. The slow movement, the first portion of it, was played with a degree of perfection in which the nicest ear could not discover a fault.
Beethoven’s violin concerto, which belongs to the class of symphonies, so grand and varied in its design, was played by young Joachim in a manner which caused astonishment in the oldest musicians and professors of that instrument, who discover in a boy of only 13 years of age [sic], all the mastery of the art which it has cost most of them the labour of a life to attain, if indeed any of them have reached to the same excellence by which he is in all respects distinguished. This concerto, however attractive and beautiful as an orchestral composition, has been seldom played by professors of the violin, because the passages, though excessively difficult, convey no notion of that difficulty to those who hear it played, and the merit of the performer has no chance of being appreciated by those who have listened through their attendances on concerts to the gorgeous displays of other writers. Joachim has contrived to throw all this aside, and by his clear and distinct articulation, his perfect intonation, and a conception of his subject which denotes almost a mind kindred with that of the composer, has produced a perfect whole, and so blended the solo instrument with the rest of the composition as to present this great masterpiece with the effect which the author intended. The piece is one of those of which Beethoven himself—and no one exercised a severer judgment on his own writings than he did—was proud. But the extraordinary talent of Joachim is but described in part by what has been said of his manner of playing this concerto. He appeared himself as a composer also, having constructed two beautiful cadences, one for the first and the other for the last movement, into which he has infused the spirit of the author; has varied while he adopted his subjects, introducing into them still greater difficulties of execution, yet never deviating from the main design. Many will hardly believe that Joachim could himself have written these cadences, but of the fact there is, we believe, no doubt; no other hand has touched them. The applause bestowed on him was great, but not more so than his deserts; one universal feeling governed the whole audience. He was interrupted by plaudits wherever they could be permitted, sometimes even to the injury of the composition; and at the close they lasted some minutes.
Till last night there has been no performance from Mendelssohn’s Midsummer Night’s Dream in this country, except the overture. The curtain is now raised, and we are made acquainted with some pieces which are blended with Shakespeare’s play as incidents merely, for the Germans have not tortured it into an opera, and which may take rank with any of the compositions of this master. The scherzo is a most original movement, intricate and difficult, and taxing the powers of the orchestra to the utmost; the march, a magnificent piece, simple yet new. Both of these were encored. With respect to the latter and incident occurred, too characteristic of the great care of Mendelssohn in conducting an orchestra to be passed over. The desire of the audience to have the march repeated had been shown in the usual manner, and could not be doubted. At the moment when it was expected to recommence, the conductor suddenly disappeared from his post, and was seen slowly advancing to the top of the orchestra, the audience all the time keeping silence. Some notes had been omitted, which he must set right before he could allow it to begin again. He then resumed his station, raised his baton, and the march was resumed amidst a thunder of applause. In the finale he returns to that subject which closes the overture, and interweaves the chorus with it, and nothing of the kind could be more perfect. We must adopt these things on our stage, or allow that the Germans go beyond us in their illustration of our own great bard.
The opera of Pascal Bruno, from which the duet of Miss Rainforth with Staudigl is taken, is the work of a countryman, Mr. J. L. Hatton, who has just returned from Vienna, where the entire piece has been performed with a degree of success which has raised the estimation of English talent in that refined capital. The specimen given proves that the success was well deserved. He has formed himself, in his orchestral combinations, upon Mozart, and commits the fault of overlaying the voice by the fulness of them, but many of his effects are quite his own, and his general talent is undoubted. The duet was very finely sung, both by Miss Rainforth and by Staudigl.
In the selections from Faust also the boundary of the overture was passed to introduce us to the opera itself, and the acquaintance with it was most satisfactory. The overture is one of the finest Spohr has written; the hint of the double orchestra, employed in the minuet which leads from the overture into the opera itself, is taken obviously from Don Giovanni, but he has worked the subject after his own admirable manner.
We ought not to take leave of this concert without noticing the marked improvement in the discipline and general effect of the orchestra in the short time since Mendelssohn has become the conductor and assumed the absolute control over it. Except perhaps in some portion of the vocal music, when the accompaniment was too powerful for the voices, not a fault, not a slip was to be detected. All lovers of music and all professors must acknowledge their great obligation to him; he has solved the great problem of the occasional inefficiency of this orchestra in showing that its component parts were most excellent, and that nothing was wanted but a good conductor who could acquire their confidence, and bring out their inherent powers. He has proved, what has often been asserted, that the same conductor must act uniformly in order to insure the success of a great concert. That there are artists already here, English as well as foreign, who could accomplish this, is not to be denied; but to produce willing obedience a great name is wanted, and that name is Mendelssohn. He was received with the most cordial and vehement applause, not only on his first appearance, but whenever he presented himself in the orchestra.
Originally published in: Hermann Erler, “Niels Wilhelm Gade (geboren 22 Februar 1817). Eine Erinnerung an seinen 91. Geburtstag mit ungedruckten Briefen von Joseph Joachim und Clara Schumann.” Berliner Tageblatt und Handels-Zeitung, Vol. 37, No. 96 (Saturday, 22 February 1908), 1. Beiblatt.
Ein junger Geiger aus Ungarn, Leopold Auer, den Du, glaube ich, bei mir schon gesehen hast, bittet mich bei seiner bevorstehenden Reisen nach Kopenhagen um einige Zeilen an Dich. So ungern ich eigentlich “Empfehlungen” gebe, eine so große Freude gewährt es mir in dem vorliegenden Falle meinen jungen Kollegen und Landsmann Dir vorzustellen und Dich zu bitten, ihn anzuhören, damit er selbst sich Dir empfehlen könnte. Es wird gewiß nicht mehr bedürfen, um Dir das lebendigste musikalische Interesse für ihn einzuflößen, der ja als Violinspieler allen seinen Altersgenossen, die ich gehört, weit vorgeschritten ist! Aber auch als Lieber, bescheidener, braver Junge wird sich Auer gewiß Dein Wohlwollen erwerben, und so hoffe ich Du wirst gern Deinen großen Einfluß zu seinen Gunsten geltend machen. Der Vater meines Schützlings, der mit nach Kopenhagen reist, würde Dir für Deinen Rath von Herzen dankbar sein, wenn Du gleich Anfangs über seine Pläne mit ihm sprechen wolltest. An Toofte [2] [Valdemar Tofte] will ich ihm selbst einen Gruß mitgeben.
Und nun will ich Dir noch die Dir gewiß willkommene Nachricht mitteilen, daß ich meine Direktion der Concerte hier beibehalte und bloß während der Dauer derselben (4 Monate) in Hannover zu sein brauche. Der König hat mir, nach meiner Kündigung, diese dankenswerthen Vorschläge gemacht. So werde ich (Dich) dann leicht künftighin einmal besuchen können.
Wir studiren jetzt hier den ganzen Schumannschen Faust, den ich dirigiren werde. Stockhausen wird drin mitwirken, und ich freue mich darauf.
Herzlich grüßend
Dein
Joseph Joachim
Hannover
Dear, esteemed Gade
A young violinist from Hungary, Leopold Auer, whom I believe you have already seen at my place, asks me for a few lines to you before his upcoming travels to Copenhagen. As much as I do not like to give “recommendations,” it gives me great pleasure to introduce my young colleague and compatriot to you and to ask you to listen to him, so that he can recommend himself to you. It will certainly not take more to instill in you the liveliest musical interest in him, who as a violinist is far ahead of all his peers that I have heard! But Auer will certainly also earn your goodwill as a dear, modest, good young man, and so I hope you will gladly use your great influence in his favor. The father of my protégé, who is traveling with him to Copenhagen, would be heartily grateful for your advice if you would talk to him right away about his plans. I will give him a greeting to Toofte myself.
And now I want to tell you the news, which is certainly welcome, that I will keep my direction of the concerts here and only need to be in Hanover for their duration (4 months). After my resignation, the King made these grateful suggestions to me. So I will then easily be able to visit (you) sometime in the future.
We are now studying the entire Schumann Faust, which I will conduct. Stockhausen will participate in it, and I am looking forward to it.
With cordial greetings
Your
Joseph Joachim
[1] See: Georg Fischer, Musik in Hannover, Hannover & Leipzig: Hahn’sche Buchhandlung, 1903, p. 263.
[2] Danish violinist and pedagogue Valedmar Tofte (*21 October 1832 – †28 May 1907). At Gade’s suggestion, Tofte studied with Joachim from 1853 to 1856.
SBSchumann Briefedition, Serie II Köln: Dohr, 2019, 2 vols.
1839
17/3/1839:Adelskasino, Pest Debut recital. Joseph Joachim, Stanislaus Serwaczyński; Johann Friedrich Eck Double Concerto, Franz Pechaˇcek Variations on Schubert’s Trauerwalzer. Ref: JJ
1840
25/3/1840 [Der Adler, Vienna, 30/3/1840 p. 6]:
1843
30/4/1843 Royal Redoutensaal, Vienna Fourth ever subscription concert of the Vienna Philharmonic Orchestra Vieuxtemps Violin Concerto no. 4 in D Minor; Adagio religioso and Finale marziale
16/11/1843 Gewandhaus, Leipzig Seventh Subscription Concert of the Gewandhaus Orchestra, Ernst: Othello Fantasie. Ref: NZfM, 11/12/1843, p. 3. /AmZ , 12/1843, no. 49, p. 888. Program: Stadtgeschichtliches Museum, Leipzig.
1844
29/1/1844: Gewandhaus, Leipzig Concert by Charlotte Birch (as assisting artist). Spohr, Violin Concerto no. 8 op. 47 Gesangscene. Ref: AmZ No. 5 (31 January 1844): 74-75. Program included Cherubini Ouverture zum Wasserträger, Arie von Marliani, Bellini Arie aus der Sonnambula, Beethoven Ouverture zu Fidelio (No. 4, E dur), Englische und schottische Nationallieder, Moscheles Hommage à Handel, Duo für zwei Pianoforte, Rode Variationen (Miss Birch).
7/6/1844: Princess’ Concert Room, London G. A. Macfarren’s and J. W. Davison’s Third Concert of Chamber Music. Mendelssohn Trio in D Minor, op. 49 (Joachim, Mendelssohn, Hausmann), Bach Adagio and Fugue G Minor, BWV 1001, Mendelssohn Quartet in D, op. 44 (Joachim, Goffrie, Hill, Hausmann); program also included songs by Mendelssohn and Macfarren, sung by Marshall, Dolby, and Rainforth.
29/11/1844: Soirée at Herman Härtel’s house, Leipzig Mendelssohn Octet with Joachim. Ref: Friedrich Schmidt, Das Musikleben der bürgerlichen Gesellschaft Leipzigs im Vormärz (1815-1848), Langensalza: Beyer & Mann, 1912. 181.
1845
18/10/1845: Gewandhaus, Leipzig A Beethoven string quartet, together with David, Gade, and Grabau. Concert given by Lisa B. Cristiani. Ref: Program Stadtgeschichtliches Museum, Leipzig.
10/11/1845: Hôtel de Saxe, Dresden JJ plays Mendelssohn’s violin concerto and David’s Variations on Schubert’s Lob der Thränen for Violin and Orchestra, op. 15 under Robert Schumann’s direction. This Dresden premiere would be Joseph’s first performance of the Mendelssohn Concerto, and the third public performance of the work outright.
4/12/1845: Gewandhaus Leipzig Adagio und Rondo für die Violine mit Orchester, komponiert und vorgetragen von Herrn Joseph Joachim; Caprice für die Violine mit Orchesterbegleitung, über ein Thema aus dem Piraten von Bellini, komponiert von H.W. Ernst, gespielt von Herrn Joseph Joachim. Conducted by Felix Mendelssohn; the only performance at which Mendelssohn performed a work of Joachim’s publicly.
Erster Theil: Symphonie von W.A. Mozart (D dur, ohne Menuett ; Arie aus Norma von Bellini [Keusche Göttin, im silbernen Glanze], gesungen von Fräulein Jenny Lind ; Adagio und Rondo für die Violine mit Orchester, componiert und vorgetragen von Herrn Joseph Joachim ; Duett aus “I Capuleti e Montechi” von Bellini [Si, fuggire!], gesungen von Fräulein Jenny Lind und Miss Helene Dolby — Zweiter Theil: Ouverture zu Oberon von C. Maria von Weber ; Recitativ und Arie aus Don Juan von Mozart [Ich grausam! .. Ueber Alles bleibst du theuer], gesungen von Fräulein Lind ; Caprice für die Violine mit Orchesterbegleitung, über ein Thema aus dem Piraten von Bellini, componirt von H.W. Ernst, gespielt von Herrn Joseph Joachim — Lieder mit Pianofortebegleitung, gesungen von Fräulein Lind.
11/1/1846: Gesellschaft der Musikfreunde, Vienna Ref: Wiener Zeitung, No. 11 (11 January, 1846), p. 84.
1847
9/2/1847: Dresden, Saxony Joachim’s first public performance of the Bach Chaconne. Ref: Deutsche Allgemeine Zeitung (Nr. 43), Friday, 12 February, 1847, p. 369.
18/2/1847: Gewandhaus, Leipzig Seventeenth Subscription Concert. Historical concert (composers from before a century ago). Bach: Adagio and Fugue in G minor; Chaconne (Joachim’s second public performance). Ref: Programs, Stadtgeschichtliches Museum, Leipzig
19/4/1847: Beethoven Rooms, London Beethoven Quartet Society. Beethoven: Quartet in C minor, Op. 18, No. 4; Quartet in E flat Major, Op. 74; Quartet in A minor, Op. 132. Ref. The Musical World, No. 22 (24 April, 1847), p. 262.
7/6/1847: Liverpool, England
Liverpool Mercury: Friday, June 11, 1847, p. 326:
21/6/1847: Manchester, England Mendelssohn Violin Concerto, Ernst Adagio and Rondo. Ref: Manchester Courier and Lancashire General Advertiser, Wednesday, 23 June, 1847.
1848
11/3/1848: Hamburg Beethoven Violin Concerto, Ernst Otello Fantasie. The concert is attended by the young Johannes Brahms, who hears Joachim for the first time. Hamburger Nachrichten of 27 March gives a concert review: “In dem Violin-Virtuosen Hrn. J. Joachim, der das Beethoven’sche Violin-Concert und die bekannte Othello-Phantasie von Ernst vortrug, lernte unser Publikum einen Künstler von bedeutendem Talent und der solidesten Kunstrichtung kennen. Die Bemerkung, daß derselbe das großartige Beethovensche Concert — ein Werk, für das sich in mehr denn einer Beziehung wohl der Name Concert-Symphonie eignen möchte — in vortrefflicher Auffassung und sicherer Haltung mit Geschmack, mit Geist und Gefühl ausführte, zeigt den Standpunct dieses Künstlers zur Genüge an und macht jede weitere Erörterung überflüssig. Der laute Beifall aller Anwesenden, dessen er sich zu erfreuen hatte, war nur eine gerechte Anerkennung der ausgezeichneten Leistung —” Ref
19/10/1848: Gewandhaus, Leipzig Weber, Overture to “Freischütz;” Mozart, Recitative and Aria sung by Minna Marpurg; Beethoven Violin Concerto (Joachim); Spohr, Finale from the opera “Zemire und Azor,” sung by Minna and Auguste Marburg, Frl. Stark, Herrn Wideman and Behr; Ferdinand David, Symphony after Goethe’s poem “Verschiedene Empfindungen auf einem Platze” (new, manuscript). Ref: Deutsche Allgemeine Zeitung, No. 291 (17 December 1848) p. 3824.
17/12/1848: Leipzig “Am 17. Dec. veranstaltete die blinde Sängerin Frl. Anna Zinggeler aus Zürich ein Morgenconcert in der Buchhändlerbörse. Ihre Leistungen waren anerkenneswerth und fanden Beifall. Unterstützt wurde das Concert durch die HH. Joachim und Behr, Kapellmeister Rietz begleitete. Ein Hr. Pelz aus Prag debütierte minder glücklich mit einer Composition wie sie das Leipziger Publicum nicht zu hören gewohnt ist.” Ref: Deutsche Allgemeine Zeitung, No. 354 (19 December 1848) p. 4562
1849
30/4/1849: Philharmonic Society, Dublin 23rd season, 4th grand concert. Principal performers: Miss A. Williams, Miss M. Williams, Signor Marras, Herr Joachim. Leader: Mr. Levey. Conductor: Mr. Bussell. Ref
Dublin Evening Mail No. 4763, page 3 (2/5/1849):
7/5/1849: The Globe No. 14,862, p. 3. (10/5/1849)
7/5/1849: The Morning Post No. 23,532 (9/5/1849):
30/9/1849: Gewandhaus, Leipzig Mendelssohn Violin Concerto. Ref: Program Stadtgeschichtliches Museum, Leipzig.
10/12/1849: Gewandhaus, Leipzig Maurer Concerto for Four Violins. Ref: Deutsche Allgemeine Zeitung (Nr. 346), Friday, 12 December, 1849, p. 3788
1850
19/10/1850: Hof-Theater, Weimar Hof-Kapelle Weimar (Liszt), Joachim, Agthe, Coßmann, Graumann, Beethoven violin concerto, Joachim Fantasie über ungarische Motive. Ref: THULB
1851
16/2/1851 Hof-Theater, Weimar
1852
31/5/1852: Philharmonic Society, London Joachim, Mendelssohn Violin Concerto, Joachim Fantasia on Scottish Airs. Ref: Bell’s,
Review: London Evening Standard 1 June, 1852:
12/6/1852: Queen’s Concert Rooms, Hanover Square, London Beethoven Violin Concerto, ‘Hungarian’ Fantasy, Paganini 24th Caprice. Ref: Illustrated London News, 12 June, 1852, p. 458; The Morning Advertiser, Saturday, 26 June, 1852, p. 6.
23/6/1852: Sheldonian Theatre, Oxford Joachim, Bottesini, various artists, Joachim Phantasie über ungarische Motive (Fantasia on Hungarian Airs). Ref: The Era.
13/11/1852: Joachim debuts in Hanover with Mendelssohn Concerto — audition concert for his new position. Ref: FMH1853
8/1/1853: Hanover Spohr Gesangscene. (Kömpel played Beethoven Concerto) Ref. and complete program: FMH
22/1/1853: Hanover Spohr Gesangscene (Kömpel played Beethoven Concerto) Ref. and complete program: FMH
26/2/1853: Hanover Bach Chaconne, Ernst Concerto Allegro Pathétique. Ref. and complete program: FMH
19/3/1853: Hanover Ernst Othello Fantasie. Ref. and complete program: FMH
17/5/1853: Niederrheinische Musikfest, Düsseldorf Beethoven Violin Concerto, Bach Chaconne (Schumann arrangement, accompanied by Clara Schumann).
8/1853: Summer concerts in Göttingen Der Humorist, 30 August 1853, p. 794:
25/10/1853:
The Athenæum, 3968 (14 November 1903): 659
10/12/1853: Hanover Beethoven Concerto. Ref. and complete program: FMH
20/12/1853: Casinosaal, Cologne Ferdinand Hiller, conducting: Beethoven Concerto, unnamed composition of his own. Review: RMZ p. 1454.
22/12/1853: Casinosaal, Cologne Recital Joachim, Hiller, and Koch for the benefit of “Herrn Clef, früheren Regisseurs des hiesigen Vaudeville – Theaters.” Joachim Romanze, Paganini 24th caprice, with Hiller Bach sonata in E Major, three Etudes by Hiller for Piano and Violin, and Beethoven Kreutzer Sonata. Ref: BMZ
1854
7/1/1854: Hof-Theater, Hanover Joseph Joachim conducting: Franz Liszt Fantasie über Ungarische Volksmelodien; Hans von Bülow, pianist. Ref: LdKFMH
4/3/1854: Hof-Theater, Hanover Joachim, “Romanze v. Beethoven” “Präludium v. Bach,” “Capriccio v. Paganini.” Ref. and complete program: FMH
1/4/1854: Hof-Theater, Hanover Joachim, Berlioz Romanze “Tendresse et Caprice.” Ref. and complete program: FMH
8/9/1854: Norderney Concert with Jenny Lind to benefit the poor. Ref: Signale, vol. 12, no. 37 (September, 1854), p. 302
10/12/1854: Singakademie, Berlin Joachim and Clara Schumann joint recital. Ref: Neue Berliner Musikzeitung, vol. 8 no. 50, (13 December, 1854), p. 396:
16/12/1854: Singakademie, Berlin Second Joachim and Clara Schumann joint recital. Schumann Violin Sonata D Minor, Bach Prelude and Fugue for Violin Solo, Bach Prelude E Major, Paganini Caprice no. 24. Ref: ALP Neue Berliner Musikzeitung, vol. 8 no. 51, (20 December, 1854), p. 403.
20/12/1854: Singakademie, Berlin Third Joachim and Clara Schumann joint recital. Beethoven Romanze G Major, Bach, Sarabande and Double, Bach Bourée and Double, Schumann Fantasiestucke for Pianoforte and Violin, op. 73, Bach, Andante and Allegro from the Third Sonata for Violin, Beethoven, Violin Sonata C Minor, op. 30.
1856
5/11/1856: Gasthof zur Stadt London, Göttingen Joseph Joachim, Clara Schumann, Beethoven Sonata G Major, op. 96, Schubert 2 Moments musicals, op. 94 (pf.), Mendelssohn Scherzo à capriccio F sharp minor (pf.), Schumann Fantasie, op. 131, Mozart Sonata in A Major, Bach Adagio and Allegro (vln. solo), Schumann Carnaval, op. 9 (pf.). Ref: Michelmann/SIEBOLD, p. 112.
1857
14/2/1857: Hanover All-Beethoven Program with Clara Schumann for King George V Violin Sonata A Major, op. 47 (Kreutzer), Variations E flat Major, op. 35, Piano Concerto No. 4 in G Major, op. 58, Violin Sonata C minor, op. 30/2. Ref: SB 2/1, p. 323.
18/2/1857: Mengershausen’s Saal, Göttingen J. O. Grimm (cond.), Clara Schumann, pno. Beethoven Sonata G Major (not known which), Bach Praeludium and Fugue. Ref: Michelmann/SIEBOLD, pp. 112-113.
22/11/1857: Hamburg Philharmonic
Notice from Dwight’s Journal of Music, vol. 10, no. 15 (10 January 1857): 119
1858
1/6/1858: 7:45 p.m. Liverpool Philharmonic Society Madame Viardot Garcia, Miss Kemble, Signor Luchesi, Joachim (“His first appearance in Liverpool since 1847”), J. Zeugheer Herrmann, cond. Ref: Liverpool Mail, (29 May, 1858).
1859
24/5/1859: St. James’s Hall, London Joseph Joachim and Clara Schumann. Clara Schumann’s first concert in St. James’s Hall. Ref: SB 2/1, p. 43.
Irish Tour with Jenny Lind Goldschmidt and Otto Goldschmidt
26&28/9/1859: Antient Concert Rooms, Dublin Madame Lind Goldschmidt with Signor Belletti, Herr Joachim and Mr. Otto Goldschmidt. Ref: CP
[Dublin Evening Freeman, 30 September, 1859]
3/10/1859: 1:00 p.m. Railway Hotel, Killarney Jenny Lind Goldschmidt, Otto Goldschmidt, Signor Belletti, Joachim. Rondo from Mozart “Il re Pastore,” Andante con Variation from Beethoven Sonata, op. 47, Tartini Sonata (Larghetto — Tempo Giusto — Finale), Mozart duo for violin and piano. Ref: TraleeChronicle (2 September, 1859).
22/11/1865:Singakademie, Berlin Joachim, Clara Schumann. Ref: National-Zeitung, Berlin, vol. 18, no. 547 (22 November, 1865).
29/11/1865:Singakademie, Berlin Joachim, Clara Schumann. Ref: National-Zeitung, Berlin, vol. 18, no. 555 (26 November, 1865).
1866
22/2/1866: Free Trade Hall, Manchester Mr. Charles Hallé’s Grand Concerts: Vocalist, Madame Lemmens-Sherrington — Solo violin, Herr Joachim — Solo pianoforte and conductor, Mr Charles Hallé, E. de Jong. Ref: AHRC
8/3/1866: Free Trade Hall, Manchester Mr. Charles Hallé’s Grand Concerts: Vocalists Madame Lemmens-Sherrington, Mr Santley — Solo violin, Herr Joachim — Solo pianoforte and conductor, Mr Charles Hallé — Organist, Mr Henry Walker. Ref: AHRC
19/1/1867: Free Trade Hall, Manchester Instrumentalists, Madame Schumann, Herr Joachim, Herr L. Ries, Mr Zerbini, Signor Piatti — Vocalist, Miss Louisa Pyne. Ref: AHRC
7/2/1867: Free Trade Hall, Manchester Mr Charles Hallé’s Grand Concerts: Vocalist, Louise Pyne — Solo violin, Herr Joachim — Solo violoncello, Signor Piatti — Solo pianoforte and conductor, Mr. Charles Hallé. Ref: AHRC
7/3/1867: Free Trade Hall, Manchester Mr Charles Hallé’s Grand Concerts: Vocalist, Madame Lemons-Sherrington — Solo violin, Herr Joachim — Solo pianoforte and conductor, Mr Charles Hallé. Ref: AHRC
16/3/1867: Crystal Palace, London Beethoven Violin Concerto; Bach, Prelude and Presto;Romanze from Joachim Hungarian concerto, op. 11. Ref: London Evening Standard, Thursday, 28 March, 1867, p. 6.
1868
St. James’s Hall, London
22/02/1868:St James’s Hall, London Saturday popular concerts. Joseph Joachim, Louis Ries, Henry Blagrove, J. B. Zerbini, Alfredo Piatti, Elena Angele, Ernst Pauer, Henry Lazarus, C. Harper, John Winterbottom, Mr. Reynolds. Ref: AHRC
24/02/1868:St James’s Hall, London Monday popular concerts. Joseph Joachim, Louis Ries, Henry Blagrove, Alfredo Piatti, Vernon Rigby, Clara Schumann. Ref: AHRC
29/02/1868:St James’s Hall, London Saturday popular concerts. Joseph Joachim, Louis Ries, Henry Blagrove, Alfredo Piatti, Cecilia Westbrook, Clara Schumann. Ref: AHRC
02/03/1868:St James’s Hall, London Monday popular concerts. Joseph Joachim, Louis Ries, Henry Blagrove, J. B. Zerbini, Alfredo Piatti, Charlotte Sainton Dolby, Clara Schumann. Ref: AHRC
07/03/1868:St James’s Hall, London Saturday popular concerts. Ernst Pauer, Joseph Joachim, Henry Blagrove, Alfredo Piatti, Anna Jewell, Henry Lazarus, Mr. Reynolds, C. Harper, John Winterbottom. Ref: AHRC
09/03/1868:St James’s Hall, London Monday popular concerts. Joseph Joachim, Louis Ries, Henry Blagrove, J. B. Zerbini, Alfredo Piatti, Vernon Rigby, Charles Hallé. Ref: AHRC
14/03/1868:St James’s Hall, London Saturday popular concerts. Joseph Joachim, Louis Ries, Henry Blagrove, C. Harper, Mr. Standen, Alfredo Piatti, Elena Angéle, Clara Schumann. Ref: AHRC
16/03/1868:St James’s Hall, London Monday popular concerts. Joseph Joachim, Louis Ries, Henry Blagrove, J. B. Zerbini, Alfredo Piatti, Sims Reeves, Arabella Goddard, Mr. Reynolds. Ref: AHRC
21/03/1868:St James’s Hall, London Saturday popular concerts. Joseph Joachim, Louis Ries, Henry Blagrove, J. B. Zerbini, Alfredo Piatti, Vernon Rigby, Clara Schumann. Ref: AHRC
23/03/1868:St James’s Hall, London Monday popular concerts. Joseph Joachim, Louis Ries, Henry Blagrove, Alfredo Piatti, Cecilia Westbrook, Charles Hallé. Ref: AHRC
28/03/1868:St James’s Hall, London Saturday popular concerts. Joseph Joachim, Henry Blagrove, Henry Lazarus, C. Harper, John Winterbottom, Mr. Reynolds, Alfredo Piatti, Elena Angéle, Arabella Goddard. Ref: AHRC
30/03/1868:St James’s Hall, London Monday popular concerts. Joseph Joachim, Louis Ries, Henry Blagrove, Alfredo Piatti, Cecilia Westbrook, Charles Hallé, Sims Reeves, Arabella goddard, Clara Schumann. Ref: AHRC
1869
04/01/1869:St James’s Hall, London Monday popular concerts. Joseph Joachim, Louis Ries, Henry Blagrove, Alfredo Piatti, Edith Wynne, Arabella Goddard. Ref: AHRC
11/01/1869:St James’s Hall, London Monday popular concerts. Joseph Joachim, Louis Ries, J. B. Zerbini, Alfredo Piatti, Annie Edmonds, Ernst Pauer. Ref: AHRC
18/01/1869:St James’s Hall, London Monday popular concerts. Joseph Joachim, Louis Ries, Henry Blagrove, Alfredo Piatti, Emily Spiller, Henry Lazarus, Charles Hallé, Adolf Pollitzer, Mr. Watson, J. B. Zerbini, Mr. Aylward, Mr. Reynolds. Ref: AHRC
23/01/1869:St James’s Hall, London Saturday popular concerts. Joseph Joachim, Louis Ries, Henry Blagrove, J. B. Zerbini, Alfredo Piatti, Charlotte Sainton-Dolby, Arabella Goddard. Ref: AHRC
25/01/1869:St James’s Hall, London Monday popular concerts. Joseph Joachim, Louis Ries, Henry Blagrove, Alfredo Piatti, Vernon Rigby, Arabella Goddard, Adolf Pollizer, Mr. Watson, J. B. Zerbini, Mr. Aylward, Charles Reynolds. Ref: AHRC
30/01/1869:St James’s Hall, London Saturday popular concerts. Joseph Joachim, Louis Ries, Henry Blagrove, J. B. Zerbini, Alfredo Piatti, Charlotte Sainton-Dolby, Arabella Goddard, Madame Osborne Williams, Clara Schumann. Ref: AHRC
01/02/1869:St James’s Hall, London Monday popular concerts. Joseph Joachim, Louis Ries, Henry Blagrove, Alfredo Piatti, Edith Wynne, Clara Schumann. Ref: AHRC
06/02/1869:St James’s Hall, London Saturday popular concerts. Joseph Joachim, Louis Ries, Henry Blagrove, J. B. Zerbini, Alfredo Piatti, Anna Jewell, Clara Schumann. Ref: AHRC
08/02/1869:St James’s Hall, London Monday popular concerts. Joseph Joachim, Louis Ries, Henry Blagrove, J. B. Zerbini, Alessandro Pezze, Karl Wallenreiter, Clara Schumann. Ref: AHRC
13/02/1869:St James’s Hall, London Saturday popular concerts. Joseph Joachim, Louis Ries, Henry Blagrove, Alfredo Piatti, Anna Jewel, Henry Lazarus, Ernst Pauer, John Radcliff, Appollon Barret, Charles Harper, Mr. Reynolds. Ref: AHRC
15/02/1869:St James’s Hall, London Monday popular concerts. Joseph Joachim, Louis Ries, Henry Blagrove, Alfredo Piatti, Vernon Rigby, Charles Hallé. Ref: AHRC
20/02/1869:St James’s Hall, London Saturday popular concerts. Joseph Joachim, Louis Ries, Henry Blagrove, Alfredo Piatti, Karl Wallenreiter, Charles Hallé. Ref: AHRC
22/02/1869:St James’s Hall, London Monday popular concerts. Joseph Joachim, Louis Ries, Adolf Pollitzer, Mr. Amor, Henry Blagrove, J. B. Zerbini, Guillaume Paque, Alfredo Piatti, Edith Wynne, Clara Schumann, Prosper Sainton, Josef Ludwig, Mr. Reynolds. Ref: AHRC
27/02/1869:St James’s Hall, London Saturday popular concerts. Joseph Joachim, Louis Ries, Henry Blagrove, J. B. Zerbini, Alfredo Piatti, Miss Banks, Clara Schumann. Ref: AHRC
01/03/1869:St James’s Hall, London Monday popular concerts. Joseph Joachim, Louis Ries, Henry Blagrove, Alfredo Piatti, Charlotte Sainton Dolby, Clara Schumann. Ref: AHRC
06/03/1869:St James’s Hall, London Saturday popular concerts. Le Jeune, Arthur, Charlotte Sainton Dolby, Charles Hallé, Joseph Joachim, Louis ries, Henry Blagrove, Henry Lazarus, Charles Harper, John Winterbottom, Charles Reynolds, Alfredo Piatti. Ref: AHRC
08/03/1869:St James’s Hall, London Monday popular concerts. Le Jeune, Arthur, Joseph Joachim, Louis Ries, Henry Blagrove, Alfredo Piatti, Madame Osborne Williams, Charles Hallé, Clara Schumann. Ref: AHRC
13/03/1869:St James’s Hall, London Saturday popular concerts. Joseph Joachim, Prosper Sainton, Alfredo Piatti, Louis Ries, Adolf Pollitzer, Mr. Watson, J. B. Zerbini, Mr. Aylward, Mr. Reynolds, Edith Wynne, Arabella Goddard. Ref: AHRC
15/03/1869:St James’s Hall, London Monday popular concerts. Joseph Joachim, Louis Ries, Henry Blagrove, Alfredo Piatti, Annie Edmonds, Arabella Goddard. Ref: AHRC
31/10/1869: Singakademie, Berlin Inaugural concert of the Joachim Quartet (Joachim, Ernst Schiever, Heinrich de Ahna, Wilhelm Müller)
1870
29/01/1870:St James’s Hall, London Saturday popular concerts. Joseph Joachim, Louis Ries, Ludwig Straus, J. B. Zerbini, Alfredo Piatti, Blanche Cole, Ernst Pauer. Ref: AHRC
31/01/1870:St James’s Hall, London Monday popular concerts. Joseph Joachim, Louis Ries, Ludwig Straus, Alfredo Piatti, Blanche Cole. Ref: AHRC
05/02/1870:St James’s Hall, London Saturday popular concerts. Joseph Joachim, Louis Ries, Ludwig Straus, J. B. Zerbini, Alfredo Piatti, Edith Wynne, Charles Hallé. Ref: AHRC
07/02/1870:St James’s Hall, London Monday popular concerts. Joseph Joachim, Louis Ries, Ludwig Straus, Alfredo Piatti, Natalie Carola, Franklin Taylor.. Ref: AHRC
8/3/1870: Free Trade Hall, Manchester Pianoforte, Madame Schumann — Violin, Herr Joachim — Vocalist, Miss Edith Wynne. Ref
1871
20/02/1871:St James’s Hall, London Monday popular concerts. Joseph Joachim, Louis Ries, Ludwig Straus, J. B. Zerbini, Hugo Daubert, Charles Santley, Charles Hallé. Programme mis-bound in volume. Piatti unwell. Ref: AHRC
13/02/1871:St James’s Hall, London Monday popular concerts. Joseph Joachim, Louis Ries, Ludwig Straus, J. B. Zerbini, Alfredo Piatti, Miss Enriquez, Clara Schumann. Ref: AHRC
27/02/1871:St James’s Hall, London Monday popular concerts. Joseph Joachim, Louis Ries, Ludwig Straus, Edward Howell, Arthur Byron, Clara Schumann. Piatti unwell. Ref: AHRC
06/03/1871:St James’s Hall, London Monday popular concerts. Franklin Taylor, Joseph Joachim, Alfredo Piatti, William Hayman Cummings, Ludwig Straus, Henry Lazarus, Paquis, Mr. Hutchins, Mr. Reynolds, Alfredo Piatti. Ref: AHRC
8/3/1871: Philharmonic Society, London Mr Santley and Miss Edith Wynne (vocal) and Herr Joachim (violin), including a number of words by Gounod being given for the first time. Ref: AHRC
18/03/1871:St James’s Hall, London Saturday popular concerts. Joseph Joachim, Louis Ries, Ludwig Straus, Alfredo Piatti, Rebecca Jewell, Clara Schumann.. Ref: AHRC
20/03/1871:St James’s Hall, London Monday popular concerts. Joseph Joachim, Louis Ries, Ludwig Straus, Mr. Paquis, Mr. Standen, Mr. Reynolds, Alfredo Piatti, Amalie Joachim, Emma Brandes. Ref: AHRC
25/03/1871:St James’s Hall, London Saturday popular concerts. Joseph Joachim, Louis Ries, Ludwig Straus, J. B. Zerbini, Alfredo Piatti, Amalie Joachim, Clara Schumann, Julius Benedict. Ref: AHRC
27/03/1871:St James’s Hall, London Monday popular concerts. Joseph Joachim, Louis Ries, Ludwig Straus, Alfredo Piatti, Charles Santley, Arabella Goddard. Ref: AHRC
01/04/1871:St James’s Hall, London Saturday popular concerts. Joseph Joachim, Louis Ries, J. B. Zerbini, Alfredo Piatti, Sims Reeves, Emma Brandes, Clara Schumann, Mr. Reynolds, Julius Benedict. Ref: AHRC
03/04/1871:St James’s Hall, London Monday popular concerts. Joseph Joachim, Louis Ries, Ludwig Straus, Alfredo Piatti, Charles Santley, Amalie Joachim, Clara Schumann, Ernst Pauer, Wilma Norman Neruda, Charles Hallé, Mr. Reynolds, Julius Benedict. Ref: AHRC
1872
22/2/1872: Free Trade Hall, Manchester Mr Charles Hallé’s Grand Concerts: Vocalists, Miss Helen D’alton, Mr Maybrick — Solo violin, Herr Joachim — Solo pianoforte and conductor, Mr Charles Hallé. Ref
27/2/1872: Royal Albert Hall, London Grand Evening Concert on Thanksgiving Day, with Mr Cummings, Mr Maybrick, Mr Sims Reeves, Mademoiselle Enriquez, Mademoiselle J. Sherrington and Madame Lemmens Sherrington (vocal), Joseph Joachim (violin) and Mr G. Carter (organ), conducted by Sir Julius Benedict, including the first performance of Julius Benedict, Hymn of Thanksgiving. Ref: AHRC
1873
1874
14/02/1874: Crystal Palace, London Elena Corani, Signor Agnesi, Joseph Joachim, Mr. Wedemeyer. Ref: AHRC
1875
10/01/1875: Gesellschaft der Musikfreunde, Vienna:
Photo: Brahms Institut Lübeck
13/03/1875: Crystal Palace, London Edith Wynne, Helene Arnim, Joseph Joachim, August Manns. Ref: AHRC
18/3/1875: Philharmonic Society, London Miss Edith Wynne, Madame Patey, Mr W. H. Cummings and Mr Santley (vocal) and Herr Joachim (violin), including the first performance of W. Sterndale Bennett, Funeral March from Music of Sophocles. Ref: AHRC
1876
04/03/1876: Crystal Palace, London Wilhelmine Gips, George E. Fox, Joseph Joachim, August Manns. First performance of Joachim’s orchestration of Schubert’s Grand Duo for piano, D812. Ref: AHRC
7/3/1876: Cambridge University Musical Society, Cambridge Concert including Haydn, String Quartet in G, op.76/1 and Schumann, Piano Quintet in E flat, op.44, given by J. Joachim, Rev. F. Hudson, Mr Burnett and Rev. T.P. Hudson. Also, Mr G.F. Cobb and F. Pownall (vocal) and C.V. Stanford (piano).
18/03/1876: Crystal Palace, London Thekla Friedländer, Annie Butterworth, Jospeh Joachim, August Manns. First performance in England of Rubinstein’s Ballet music and Wedding march from Feramors. Ref: AHRC
1877
03/02/1877: Crystal Palace, London Edward Lloyd, Crystal Palace Choir, Joseph Joachim, August Manns. Concert to mark the 30th anniversary of Mendelssohn’s death. Ref: AHRC
8/3/1877: Cambridge University Musical Society, Cambridge Concert in aid of Addenbrooke’s Hospital, including Brahms, Song of Destiny and Symphony in C minor, the latter receiving its first performance in England. Also, Beethoven, Violin Concerto (Joachim, violin) and the first performance of Joachim, Elegiac Overture in Commemoration of Kleist (composed especially for the concert) (with historical and analytical notes the Brahms symphony and the Joachim Overture and a historical note, by Stanford, on CUMS). Ref: CP
12/03/1877:St James’s Hall, London Monday popular concerts. Joseph Joachim, Louis Ries, Ludwig Straus, J. B. Zerbini, Alessandro Pezze, Alfredo Piatti, Sophie Löwe, Clara Schumann. Ref: AHRC
1878
27/2/1878: Cambridge University Musical Society, Cambridge Concert including Beethoven String Quartets op.95 and 130 (Messrs Joachim, Ries, Straus and Piatti) and a vocal quartet (‘Spring Time’) by the same composer (Rev. L. Borissow, Messrs C.A. Treherne, G.F. Cobb and A.H. Mann). Also, solo violin pieces by Joachim and Brahms (Joachim, violin), a duet for cello and piano by Schumann, and a glee by Spofforth (with historical and descriptive notes and advertisements for the Popular Concert series and for the Easter Term performances). Bound with program is an insert detailing the necessary replacement of certain performers, including Piatti by Mr Daubert. Ref: CP
28/12/1878: Berlin Viotti Concerto a minor, Joachim “Hungarian” concerto, op. 11. Ref: NZfM (2/1/1879)
1879
1/1/1879: Gewandhaus, Leipzig First Performance of Brahms violin concerto, Beethoven violin concerto, Brahms violin concerto, Bach chaconne. Ref: NZfM (17/1/1879).
8/1/1879: Budapest Johannes Brahms conducting, Johannes Brahms violin concerto. Ref: Wolfgang Ebert, “Johannes Brahms in Ungarn,” Studien zur Musikwissenschaft, vol. 37 (1986) p. 110. (With review)
18/2/1879: St James’s Hall, London Grand Orchestral and Vocal Concerts with Miss Emma Beasley (vocal) and Herr Joachim (violin), including the first English performance of Baron Orezy, Hungarian Ballet Music from the opera, The Renegade (conducted by the composer). Ref: AHRC
22/02/1879: Crystal Palace, London Joseph Joachim, Anne Marriott, Charles Santley, August Manns. First British performance of Brahms violin concerto. Ref: AHRC
8/3/1879: Joseph Joachim, Anne Marriott, Charles Santley, August Manns. First British performance of Brahms violin concerto. Ref: AHRC
13/3/1879: Cambridge University Musical Society, Cambridge Concert including Schumann, Quartet in A minor, op.41/1 and Beethoven Quartet in C sharp minor, op.131, with Messrs Joachim, Ries, Zerbini and Piatti. Also, violin solos by Viotti and Joachim/Brahms, a cello and piano duet by Schumann (op.102) and songs by Brahms and Stanford, given by Mr Herbert E. Thorndike (vocal) and C.V. Stanford (piano) (with historical and descriptive notes on the Beethoven quartet, by ‘E.S.T.’).
20/3/1879: St James’s Hall, London Philharmonic Society, W. G. Cusins, cond. Brahms violin concerto. Ref: Program (Schubertiade sale).
12-26/9/1879: Concert tour with Johannes Brahms through Transylvania. Brahms violin concerto, works of Spohr, Bach, Schumann, Gluck and Schubert; Romanze from Joachim Hungarian concerto, op. 11; Brahms Cappricios, op. 73; Beethoven Kreutzer sonata. Ref: Renate and Kurt Hofmann, p. 146.
13/9/1879: Piano salon Pirnitzer, Budapest Concert with Johannes Brahms.
15/9/1879: Timișoara Concert with Johannes Brahms.
19/9/1879: Kronstadt Concert with Johannes Brahms.
21/9/1879: Hermannstadt Concert with Johannes Brahms.
23/9/1879: Klausenburg Concert with Johannes Brahms.
26/12/1879-15/2/1880: Concertizing in Austria-Hungary. Ref: PT
1880
6/1/1880: Milan Joachim and Bonawitz (piano), Joachim Hungarian Concerto, Hungarian Dances. Ref: Musical Times (1 February, 1880), p. 85.
30/1/1880: Budapest Brahms violin concerto. Ref: Wolfgang Ebert, “Johannes Brahms in Ungarn,” Studien zur Musikwissenschaft, vol. 37 (1986) p. 111. (With review)
11/2/1880: Sophieninselsaal, Prague 5:00 p.m. Recital with Johannes Brahms; Spohr Gesangsscene, 2 Rhapsodies of Brahms (Brahms), Bach Chaconne, Brahms sonata (unspecified), Hiller Adagio, Spohr Barcarolle, Paganini Caprice, Brahms-Joachim “Dva uherské tauce.” Ref: Prager Tagblatt, 11 February 1880.
28/2/1880: Crystal Palace, London Spohr Concerto no. 12 in A, op. 79, Joachim Theme and Variations WoO in E minor first performance. August Manns, conductor. Ref: program, Crystal Palace, London, 28 February 1880
18/3/1880: St James’s Hall, London Philharmonic Society (W. G. Cusins, cond.), Brahms Violin Concerto. Ref: Morning Post (16 March, 1880), p. 1.
1881
22/2/1881: Liverpool Philharmonic Orchestra cond. Max Bruch, Liverpool Bruch Scottish Fantasy Op.46 (UK premiere), Soloist Joseph Joachim Ref: Christopher Fifield: Max Bruch: His Life and Works
The Scottish Fantasy was dedicated to Sarasate. Bruch felt that Joachim played poorly, and wrote “He calls Sarasate a clown, and makes fun of our relationship. It was exactly Joachim’s untrustworthiness and partisanship which drove me directly into Sarasate’s arms. Sarasate cares about modern works, because he has respect for them … Joachim takes no interest in them (apart from Brahms’ works), and plays them half-heartedly, and with inadequate technique, doing them more harm than good.” Christopher Fifield, Max Bruch: His Life and Works (London: Victor Gollancz, 1988; repr. Woodbridge: Boydell Press, 2005), pp. 168–9.
7/2/1881: Cambridge University Musical Society (C. V. Stanford, cond.): Stanford “Elegiac” Symphony, Brahms violin concerto, Joachim violin variations e minor. Ref: Musical Times (1/4/1882); Bury and Norwich Post (14/3/1882).
10/3/1881: Cambridge University Musical Society Beethoven, String Quartet in F Major, op.35 and Brahms, String Quartet in A minor, op.51/2 (Messrs Joachim, Gompertz, Ludwig and Hausmann). Also, Beethoven, Violin Sonata in G Major, op.26, Schumann, Märchenbilder for Cello and Piano, op.113 and a violin solo by Brahms-Joachim. Stanford and Miss Arnold (piano) (Program with brief historical notes). Ref: CP
11/11/1881 Sing-Akademie, Berlin Joachim Quartet (Joachim, de Ahna, Wirth, Hausmann), 3. Abend; Schumann Quartet F Major, op. 40, Cherubini Quartet d minor, Beethoven Quartet C sharp minor, op. 131. Ref: JJC
14/11/1881: Cambridge University Musical Society Brahms, Piano Quartet in G minor, op.26 (Messrs Stanford, Gompertz, Donkin and Whitehouse) and Beethoven, Serenade, Trio for Violin, Viola and Violoncello, op.8. Also, violin solos by Joachim and Sarasate (Gompertz), a cello solo by Boccherini (Whitehouse) and songs by Pergolesi, Scarlatti, Parry and Stanford (Mr Thorndike). Ref: CP
26/11/1881Gewandhaus, Leipzig Gewandhaus Orchestra, Mozart Sinfonia Concertante (Engelbert Röntgen, viola), Mendelssohn Violin Concerto. Ref: AMZ (30/11/1881) p. 766.
1882
7/2/1881: Cambridge University Musical Society (C. V. Stanford, cond.): Stanford “Elegiac” Symphony, Brahms violin concerto, Joachim violin variations e minor. Ref: Musical Times (1/4/1882); Bury and Norwich Post (14/3/1882).
23/2/1882: Hallé’s Concert, Manchester Brahms violin concerto, Joachim violin variations e minor. Ref: Musical Times (1/4/1882); London Standard (27/3/1882).
27/02/1882:St James’s Hall, London Monday popular concerts. Joseph Joachim, Louis Ries, Gustav Hollander, Alfredo Piatti, Agnes Zimmermann, Mr. Abercrombie. Ref: AHRC
7/3/1882: Cambridge University Musical Society, Cambridge Concert including the first public performance of C.V. Stanford, Symphony (MS) in D minor ‘Elegiac’. Also, Beethoven, Overture ‘Coriolanus’, Wagner, Siegfried Idyll and concertante music for violin by Brahms and Joachim (Joachim, violin) (with brief historical notes). Ref: CP
18/03/1882: Crystal Palace London Mrs Hutchinson, Miss Hope Glenn, Jospeh Joachim, August Manns. Brahms Violin Concerto, Joachim “Elegiac” Overture, op. 13. Ref: AHRC, Musical Times (1/4/1882):
4/2/1883: Seventh Concert of the Musikgesellschaft, Basel Mendelssohn a minor Symphony, Brahms Violin Concerto (first Swiss performance), Ouverture by Joachim (unspecified), Adagio by Viotti, Brahms-Joachim Hungarian Dances, Weber Freischütz Ouverture. Ref: Neue Zeitschrift für Musik, vol. 50, no. 7 (9 February, 1883). p. 79.
10/03/1883: Crystal Palace, London Joseph Joachim, Herr Krause, August Manns. Ref: AHRC
04/12/1882:St James’s Hall, London Monday popular concerts. Joseph Joachim, Louis Ries, Ludwig Straus, Alfredo Piatti, Carlotta Elliot, Dora Schirmacher, Adolf Pollizer, J. B. Zerbini, Mr,. Wiener, Alessandro Pezze. Ref: AHRC
1884
25/02/1884:St James’s Hall, London Monday popular concerts. Joseph Joachim, Louis Ries, Gustav Hollander, J. B. Zerbini, Alessandro Pezze, Alfredo Piatti, Agnes Zimmermann, Edith Santley. Ref: AHRC
03/03/1884:St James’s Hall, London Monday popular concerts. Joseph Joachim, Louis Ries, Gustav Hollander, Alfredo Piatti, Clara Schumann, Miss Badia. Ref: AHRC
15/3/1884: Crystal Palace, London Joachim, Manns (cond.), Mozart violin concerto in A Major, Joachim Variations for violin and orchestra. Ref: The South London Press, 22 March 1884: “This great Hungarian violinist introduced for the first time to an English audience a concerto by Mozart, in A Major, for violin and orchestra. The concerto was composed in 1775, at Salzburg, where Joachim discovered it some 25 years back, made a copy of it, and played it in Hanover. […] Herr Joachim later in the afternoon gave one of his compositions, ‘Variations for violin and orchestra,’ during which one of his violin strings broke, which accident was, however, soon remedied.”
22/03/1884: St James’s Hall, London Saturday popular concerts. Joseph Joachim, Louis Ries, Ludwig Straus, J. B. Zerbini, Alfredo Piatti, Clara Schumann, Raimund von Zur Mühlen. Ref: AHRC
13/12/1884: Gewandhaus, Leipzig Drittes Fest-Concert zur Einweihung des neuen Gewandhauses zu Leipzig Mozart, Concerto no. 5 in A Major; Spohr, Adagio from Concerto no. 6 (op. 28)
28/02/1885: Crystal Palace, London Harper Kearton, Joseph Joachim, Robert Heckmann, Alfred Eyre, Crystal Palace Choir, August Manns. Ref: AHRC
13/03/1885:Guildhall, Cambridge Cambridge University Musical Society. Joachim, “Hungarian” concerto; Bach, Prelude and Fugue in G minor; Beethoven Namensfeier Overture; Stanford, Elegaic Ode; Mozart, Symphony in D. Ref: Cambridge Chronicle and University Journal (6 March, 1885); CP
14/03/1885:St James’s Hall, London Saturday Popular Concerts. Joseph Joachim, Louis Ries, Ludwig Straus, Alfredo Piatti, Edward Lloyd, Fanny Frickenhaus, Sidney Naylor, Charles Ould. Ref: AHRC
6/11/1885: Philharmonic Hall, Berlin Mendelssohn-Feier, Stern’scher Gesang-Verein (Rudorff), All-Mendelssohn Program: 114 Psalm, op. 51, Violin Concerto, op. 64 (Joachim), Die erste Walpurgisnacht, op. 60. Ref: JJC
1886
15/3/1886: St. James’s Hall, London Monday Popular Concerts. Joseph Joachim, Wilhelmine Norman-Neruda, Bach Concerto for Two Violins (accompanied on the piano by Miss Agnes Zimmermann); Mendelssohn Quintet in B flat for two Violins, two Violas, and Violoncello, Joachim, Norman-Neruda, Straus, Gibson, and Piatti. Ref: Program.
19/3/1886: Cambridge University Musical Society Concert including Beethoven Concerto for Violin and Orchestra, given by J. Joachim (with historical and analytical notes by George Grove. Ref: CP
22/3/1886: St. James’s Hall, London Monday Popular Concerts. Joachim, Ries, Straus, and Piatti, Beethoven Quartet in C sharp Minor, O. 132; Bach Chaconne; Beethoven Trio in G Major, Fanny Davies, Joachim, Piatti. Ref: Program.
1887
16/2/1887: St. James’s Hall, London, London Symphony Concerts. Brahms violin concerto, Beethoven Romanze in F. Ref: The Graphic (5 March, 1887), p. 238; London Standard (16 February, 1887), p. 2.
24/2/1887: St. James’s Hall, London London Symphony Concerts. Brahms violin concerto, Beethoven Romanze in F. Ref: Morning Post (23 February, 1887) p. 1.
19/03/1887: Crystal Palace, London Adelaide Mullen, Joseph Joachim, August Manns. First performance in England of Widor’s Symphony no. 2 in A, op. 54. Ref: AHRC
1/11/1887: Sing-Akademie, Berlin Joachim Quartet (Joachim, de Ahna, Wirth, Hausmann), 2. Abend; Schumann Quartet a minor, op. 41, Bargiel Quartet E flat Major, op. 74, Beethoven Quartet E flat Major, op. 74. Ref: JJC
15/11/1887: Sing-Akademie, Berlin Recital with Fanny Davies. Beethoven Sonata in E-flat, Bach Chaconne, Brahms Sonata in A Major. Ref: Program.
1888
15/02/1888: London George Henschel, Joseph Bennett, Joseph Joachim, Robert Hausmann. Henschel’s London symphony Concerts, Programme notes by Joseph Bennett. First performance in England of Brahms double concerto. Programme belonging to E. L. Jenkinson. Ref: AHRC
5/3/1888: Crystal Palace, London London Standard review of Crystal Palace Saturday Concerts Bach Concerto for Two Violins (with Geraldine Morgan), Brahms violin concerto. “Dr. Joachim rendered the performance of Brahms’ Concerto for Violin and Orchestra incomparably beautiful, and the applause at its close was tumultuous. This is the third time Dr. Joachim has played this concerto here, the first being in February, 1879, and the second in March, 1882.” Ref: London Standard (5 March, 1888). [Joachim also played a Sarabande and Bourée by Bach] Review
23-25/6/1888: Stuttgart Musikfest Brahms Violin Concerto in D Major, op. 77. Ref: SB 2/2, p. 1340 n. 4.
26/11/1888: Berlin, Berlin Philharmonic Hans von Bülow, cond. Joachim Violin Concerto No. 3, Schumann Fantasie, op. 131.
1889
23/1/1889: Große Saal, Berlin Berlin Philharmonic, Woldemar Bargiel, cond. Concert of Clara Schumann and Joseph Joachim. This was the last time Joachim and Clara Schumann appeared together. For the preparations, see: SB 2/2 p. 1361 ff. Program: Schumann Fantasy, Joachim Hungarian Concerto (Clara Schumann played Chopin, Concerto No. 2 in F Minor). Ref: ALP
Rudolfinum, Prague
29/1/1889: Rudolfinum, Prague Recital with Carl Heinrich Barth, piano.
11/2/1889: Grosser Musikvereinssaal, Vienna K.k. Hofopernorchester, Hans Richter, cond., Beethoven violin concerto, Spohr Adagio, Schumann Abendlied (orch. Joachim), Brahms violin concerto. Ref: Program RWE
22/2/1889: Grosser Musikvereinssaal, Vienna Vienna Philharmonic Orchestra, Hans Richter, cond., Joseph Joachim “Hungarian” Violin Concerto, Hugo Reinhold Intermezzo scherzoso für Orchester, Robert Schumann Fantasie für Violine, op. 131, Felix Mendelssohn-Bartholdy Concerto for Violin in E minor, op. 64. Ref: VPO
19/3/1889 Cambridge University Musical Society Program and wordbook for various solo and ensemble vocal pieces sung during a dinner held by the Cambridge University Musical Society in honor of Dr Joachim. The program includes a seating plan listing all those in attendance, including George Grove and C.V. Stanford. Ref: CP
1890
22/02/1890:St James’s Hall: Saturday popular concerts Joseph Joachim, Louis Ries, Ludwig Straus, Alfredo Piatti, Lilian Henschel, Agnes Zimmermann. Ref: AHRC
08/03/1890:St James’s Hall, London Saturday popular concerts. Joseph Joachim, Louis Ries, Ludwig Straus, Alfredo Piatti, Reginald Groome, Caroline Geisler-Schubert, Mary Carmichael. Ref: AHRC
15/3/1890: Crystal Palace, London 15 March: Miss Alice Whitacre (vocal), Joseph Joachim (violin) and Ernest Gillet (cello) Brahms Concerto for Violin and Violoncello, Bach Chaconne. Ref: AHRC, STRAD
26/3/1890: Kinnaird Hall, Dundee Joachim, Piatti, Davies, Spohr Adagio in e minor from the 11th concerto, two Brahms/Joachim Hungarian Dances. Ref: Dundee Advertiser (17 March, 1890), p. 5.
Joseph Joachim, Heinrich de Ahna, Emanuel Wirth, Robert Hausmann
Royal Academy of Music, Museum & Collections, 2004.1969, bequeathed by Norman McCann, 1999.
1891
10/01/1891: Sing-Akademie, Berlin Joachim Quartet (Joachim, de Ahna, Wirth, Hausmann), 1. Abend (II Cyclus); Beethoven Quartet A Major, op. 18, Beethoven Quartet F Minor, op. 95, Beethoven Quartet C Sharp Minor, op. 131. Ref: Program
09/02/1891:St James’s Hall, London Monday popular concerts. Fanny Davies, Joseph Joachim, Franz Friedrich Paersch, Bertha Moore, Ludwig Straus, Julian Egerton, William Wotton, Mr. Reynolds. Ref: AHRC
14/02/1891:St James’s Hall, London Joseph Joachim, Louis Ries, Ludwig Straus, Alfred Gibson, Alfredo Piatti, Orlando Harley, Max Pauer, Oliver King. Ref: AHRC
21/02/1891:St James’s Hall, London Saturday popular concerts. Joseph Joachim, Louis Ries, Ludwig Straus, Alfred Gibson, W. E. Whitehouse, Alfredo Piatti. Braxton Smith, Agnes Zimmermann. Saturday popular concerts. Ref: AHRC
07/03/1891:St James’s Hall, London Saturday popular concerts. Joseph Joachim, Louis Ries, Ludwig Straus, Alfred Gibson, Alfredo Piatti, Charles Santley, Fanny Davies, Sideny Naylor. Ref: AHRC
6/10 – 9/10/1891: Prospectus for 1891 Birmingham Musical Festival at the Town Hall. Performers: Emma Albani, Anna Williams, Edward Lloyd, Charles Santley, Mr Brereton, Mrs Brereton, Miss Macintyre, Hilda Wilson, Madame Hope Glenn, Iver McKay, Watkin Mills, George Henschel, Joseph Joachim, Hans Richter. Ref: AHRC
14/10/1891: Sing-Akademie, Berlin Joachim Quartet (Joachim, de Ahna, Wirth, Hausmann), 1. Abend (I Cyclus); Haydn Quartet B Major (49 in the Peters Edition), Mozart Quartet D Major, No. 10, Beethoven Quartet E flat Major, op. 127. Ref: JJC
28/10/1891: Sing-Akademie, Berlin Joachim Quartet (Joachim, de Ahna, Wirth, Hausmann), 2. Abend (I Cyclus); Bargiel Quartet d minor, op. 47, Schubert Quartet a minor, op. 29, Beethoven Quartet C Major, op. 59. Ref: JJC
9/11/1891: Berlin Concert Direction Hermann Wolf: REF
5/12/1891: Sing-Akademie, Berlin Mozart-Feier, Concert celebrating the 100th anniversary of Mozart’s Death, for the benefit of a monument for Haydn, Mozart, and Beethoven in Berlin, Mozart Violin Concerto A Major. Ref: JJC
12/12/1891: Sing-Akademie, Berlin Richard Mühlfeld, Joachim Quartet (Joachim, de Ahna, Wirth, Hausmann), 3. Abend (I Cyclus); Brahms Trio a minor for Piano, Clarinet and Violoncello (Mscrpt.), Mozart Quartet G Major, Brahms Quintet B minor for Clarinet, two violins, viola and violoncello (Mscrpt.). Ref: JJC
29/12/1981: Sing-Akademie, Berlin Joachim Quartet (Joachim, de Ahna, Wirth, Hausmann), 4. Abend (I Cyclus); All Beethoven Program, Quartet F major, op. 18, Quartet E flat Major, op 74, Quartet A Minor, op 132. Ref: JJC
1892
3/2/1892: Sing-Akademie, Berlin Joachim Quartet (Joachim, de Ahna, Wirth, Hausmann), 2. Abend (II Cyclus); Haydn Quartet D Major, op. 50 (No. 27 in the Peters Edition), Cherubini Quartet D Minor, Beethoven Quartet E Minor, op. 59, no. 2. Ref: JJC
16/2/1892: Sing-Akademie, Berlin Joachim Quartet (Joachim, de Ahna, Wirth, Hausmann), 3. Abend (II Cyclus); Herzogenberg Quartet G Major, op. 42, Beethoven Quartet F Minor, op. 95, Schubert Quartet D Minor. Ref: JJC
12/3/1892: Crystal Palace, London Madame Hope Glenn (vocal) and Joseph Joachim. Ref: AHRC
24/5/1892: Hoftheater, Weimar:
15/10/1892: Sing-Akademie, Berlin Joachim Quartet (Joachim, Kruse (for the ill de Ahna), Wirth, Hausmann), 1. Abend (I Cyclus); Haydn Quartet E flat Major, op. 64, Mozart Quartet D Minor, Beethoven Quartet B Major, op. 130. Ref: JJC
29/10/1892: Sing-Akademie, Berlin Joachim Quartet (Joachim, de Ahna, Wirth, Hausmann), Bram Eldering, 2nd viola, 2. Abend (I Cyclus); Beethoven Quartet B Major, op. 18, Herzogenberg Quintet C Minor, op. 77, Schumann Quartet A Major, op. 41. Ref: JJC
14/12/1892: Sing-Akademie, Berlin Joachim Quartet (Joachim, Kruse, Wirth, Hausmann), H. Dechert, 2nd violoncello, 3. Abend (I Cyclus); Mendelssohn Quartet E flat Major, op. 12, Haydn Quartet B Minor, Schubert Quintet C Major, op. 163. “Zur Erinnerung an Heinrich de Ahna, gest. am 1. November 1892” Ref: JJC
29/12/1892: Sing-Akademie, Berlin Joachim Quartet (Joachim, Kruse, Wirth, Hausmann), 4. Abend (I Cyclus); Prinz Reuss Quartet F Major, Mozart Quartet D Major, no. 7, Beethoven Quartet E flat Major, op. 127. Ref: JJC
1893
1/1/1893: Gewandhaus, Leipzig Mozart A major Concerto; Schumann Gartenmelodie, Gade Caprice in A Minor (Reinecke ed.), Bach, Bourée and Double from the solo sonata in B Minor. Ref: Signale
14/1/1893: Sing-Akademie, Berlin Joachim Quartet (Joachim, Kruse, Wirth, Hausmann), 1. Abend (II Cyclus); All Beethoven Program: Quartet A Major, op. 18, Quartet F Minor, op. 95, Quartet C sharp Minor, op. 131. Ref: JJC
28/1/1893: Sing-Akademie, Berlin Joachim Quartet (Joachim, Kruse, Wirth, Hausmann), Bram Eldering, 2nd viola, 2. Abend (II Cyclus); Haydn Quartet D Minor, op. 76, Mozart Divertimento E flat Major for Violin, Viola and Violoncello, Brahms Quintet G Major, op. 111. Ref: JJC
9/2/1893: Sing-Akademie, Berlin Joachim Quartet (Joachim, Kruse, Wirth, Hausmann), 3. Abend (II Cyclus); Cherubini Quartet E flat Major, Schumann Quartet A Minor, op. 41, Beethoven Quartet E flat Major, op 74. Ref: JJC
12/4/1893: Sing-Akademie, Berlin Joachim Quartet (Joachim, Kruse, Wirth, Hausmann), 4. Abend (II Cyclus); Mozart Quartet B Major, no. 9, d’Albert Quartet II E flat Major, op. 11 (neu), Beethoven Quartet E Minor, op. 59, no. 2. Ref: JJC
14/10/1893: Sing-Akademie, Berlin Joachim Quartet (Joachim, Kruse, Wirth, Hausmann), Bram Eldering, 2nd viola, 1. Abend (I Cyclus); Haydn Quartet F Major, op. 77, Beethoven Quartet F Minor, op. 95, Mozart Quintet G Minor. Ref: JJC
1894
31/1/1894: Scottish Orchestra Company, Popular Orchestral Concerts Beethoven violin concerto. Ref: AHRC , Dundee Evening Telegraph (1/2/1894).
14/4/1894:
13/10/1894: Sing-Akademie, Berlin Joachim Quartet (Joachim, Kruse, Wirth, Hausmann), 1. Abend (I Cyclus); Haydn Quartet C Major, Mozart Quartet G Major, Beethoven Quartet E Minor, op. 59, no. 2. Ref: JJC
27/10/1894: Sing-Akademie, Berlin Joachim Quartet (Joachim, Kruse, Wirth, Hausmann), 2. Abend (I Cyclus); Beethoven Quartet C Minor, op. 18, Brahms Quartet B Major, op. 67, Schubert Quartet C Major, op. 163, Ref: JJC
13/12/1894: Sing-Akademie, Berlin Joachim Quartet (Joachim, Kruse, Wirth, Hausmann), Schrattenholz, 2nd violoncello, 3. Abend (I Cyclus); Klughardt Quintet for 2 violins, viola and 2 violoncelli G Minor, op. 62 (neu), Mozart Quartet E flat Major, Brahms Sextet B Major, op. 18. Ref: JJC
14/12/1894: Sing-Akademie, Berlin Gedächtnisfeier für Hermann von Helmholtz / Memorial Concert for Hermann von Helmholtz, Schumann Abendlied. Ref: JJC
28/12/1894: Sing-Akademie, Berlin Joachim Quartet (Joachim, Kruse, Wirth, Hausmann), 1. Abend (II Cyclus); All-Beethoven Program: Quartet A Major, op. 18, Quartet C Major, op. 59, Quartet A Minor, op. 132. Ref: JJC
1895
12/1/1895: Sing-Akademie, Berlin Joachim Quartet (Joachim, Kruse, Wirth, Hausmann), 2. Abend (II Cyclus); Haydn Quartet G Major, op. 77, Dvorák Quartet E flat Major, op. 51, Beethoven Quartet F Minor, op. 95. Ref: JJC
24/1/1895: Sing-Akademie, Berlin Joachim Quartet (Joachim, Kruse, Wirth, Hausmann), Andreas Moser, 2nd viola, 3. Abend (II Cyclus); Mozart Quintet D Major, Cherubini Quartet E flat Major, Brahms Quintet G Major, op. 111. Ref: JJC
30/03/1895: Crystal Palace, London Agnes Janson, Joseph Joachim, Emily Shinner, Sir Arthur Sullivan. Ref: AHRC
27/4/1895: Sing-Akademie, Berlin Joachim Quartet (Joachim, Kruse, Wirth, Hausmann), 4. Abend (II Cyclus); Haydn Quartet C Major, op. 54, no. 2, Mozart Quartet F Major, Beethoven Quartet C sharp Minor, op. 131. Ref: JJC
12/10/1895: Sing-Akademie, Berlin Joachim Quartet (Joachim, Kruse, Wirth, Hausmann), 1. Abend (I Cyclus); Haydn Quartet G Major, Mozart Quartet A Major, Beethoven Quartet B Major, op. 130. Ref: JJC
26/10/1895: Sing-Akademie, Berlin Joachim Quartet (Joachim, Kruse, Wirth, Hausmann), 2. Abend (I Cyclus); Mozart Quartet D Minor, Dvorák Quartet C Major, op 61, Beethoven Quartet E flat Major, op. 127. Ref: JJC
11/12/1895: Sing-Akademie, Berlin Joachim Quartet (Joachim, Kruse, Wirth, Hausmann), Dechert, 2nd violoncello, 3. Abend (I Cyclus); Haydn Quartet F Major (no. 14 in the Peters Edition), Brahms Quartet A Minor, op. 51, Schubert Quintet C Major, op. 163. Ref: JJC
28/12/1895: Sing-Akademie, Berlin Joachim Quartet (Joachim, Halir (for Kruse), Wirth, Hausmann), 4. Abend (I Cyclus); All-Beethoven Program: Quartet E-flat Major, op. 74, Quartet G Major, op. 18, Quartet C sharp Minor, op. 131. Ref: JJC
11/1/1896: Sing-Akademie, Berlin Joachim Quartet (Joachim, Kruse, Wirth, Hausmann), Moser, 2nd viola, Dechert, 2nd violoncello, 1. Abend (II Cyclus); Mozart Quartet D Major, no. 10, Brahms Sextet G Major, op. 36, Beethoven Quartet E Minor, op. 59. Ref: JJC
22/1/1896: Sing-Akademie, Berlin Joachim Quartet (Joachim, Kruse, Wirth, Hausmann), 2. Abend (II Cyclus); Haydn Quartet B Major, op. 76, H. von Herzogenberg Quartet F Minor, op. 63, Beethoven Quintet C Major, op. 29 (Andreas Moser, 2nd viola). Ref: JJC
1/2/1896: Sing-Akademie, Berlin Joachim Quartet (Joachim, Kruse, Wirth, Hausmann), 3. Abend (II Cyclus); Mendelssohn Quartet e minor, op. 44, no. 2, Beethoven Quartet A Major, op. 18, Schubert Quartet D Minor. Ref: JJC
07/03/1896: St James’s Hall, London Saturday popular concerts. Joseph Joachim, Louis Ries, George A. Clinton, Paul Ludwig, Ada Crossley, Gospodin Sapellnikoff, Henry Bird. Ref: AHRC
15/4/1896: Sing-Akademie, Berlin Joachim Quartet (Joachim, Kruse, Wirth, Hausmann), 4. Abend (II Cyclus); Haydn Quartet B Minor, no. 32 in Peters Edition, Mozart Quartet B Major, no. 9, Beethoven Quartet A Minor, op. 132. Ref: JJC
7/5/1896: Philharmonic Hall, Berlin Jubelfeier des 200jährigen Bestehens, Königliche Akademie der Künste zu Berlin. Spitta/Bruch Moses, op. 67 (Joachim, cond.). Ref: JJC
10/10/1896: Sing-Akademie, Berlin Joachim Quartet (Joachim, Kruse, Wirth, Hausmann), 1. Abend (I Cyclus); Haydn Quartet B Major, op. 64, Mozart Quartet E flat Major, Beethoven Quartet F Major, op. 59. Ref: JJC
28/10/1896: Sing-Akademie, Berlin Joachim Quartet (Joachim, Kruse, Wirth, Hausmann), 2. Abend (I Cyclus); Beethoven Quartet B Major, op. 18, Schubert Quartet G Major, op. 161, Brahms Quintet F Major, op. 88 (Andreas Moser, 2nd viola). Ref: JJC
13/12/1896: Saale des Saalbaues, Frankfurt
1897
24/1/1897: Sing-Akademie, Berlin Joachim Quartet (Joachim, Kruse, Wirth, Hausmann), 1. Abend (II Cyclus); All-Beethoven Concert: Quartet D Major, op. 18, Quartet f minor, op. 95, Quartet F Major, op. 135. Ref: JJC
2/2/1897: Sing-Akademie, Berlin Joachim Quartet (Joachim, Kruse, Wirth, Hausmann), 2. Abend (II Cyclus); Haydn Quartet B Major, op. 71, no. 1, Brahms Quartet A Minor, op. 51, Schubert Quartet D Minor. Ref: JJC
17/2/1897: Sing-Akademie, Berlin Joachim Quartet (Joachim, Kruse, Wirth, Hausmann), 3. Abend (II Cyclus); Mendelssohn Quartet E flat Major, op. 12, Beethoven Quartet A Minor, op. 132, Mozart Quintet G Minor (Andreas Moser, 2nd viola). Ref: JJC
22/4/1897: Sing-Akademie, Berlin Joachim Quartet (Joachim, Kruse, Wirth, Hausmann), 4. Abend (II Cyclus); Johannes Brahms zum Gedächtniss/Johannes Brahms Memorial Concert: Quartet C Minor, op. 51, Sextet B Major, op. 18, Quintet G Major, op. 111 (Andreas Moser, 2nd viola; Hugo Dechert, 2nd violoncello). Ref: JJC
16/10/1897: Sing-Akademie, Berlin Joachim Quartet (Joachim, Halir, Wirth, Hausmann), 1. Abend (I Cyclus); Haydn Quartet C Major, Mozart Quartet D Minor, Beethoven Quartet C sharp Minor, op. 131. Ref: JJC
31/10/1897: Sing-Akademie, Berlin Joachim Quartet (Joachim, Halir, Wirth, Hausmann), 2. Abend (I Cyclus); Schumann Quartet F Major, op. 41, Stanford Quartet D Minor, op. 64, Beethoven Quartet E Minor, op. 59. Ref: JJC
24/11/1897: Sing-Akademie, Berlin Joachim Quartet (Joachim, Halir, Wirth, Hausmann), 3. Abend (I Cyclus); Haydn Quartet G Minor, op. 74, Brahms Quartet B Major, op. 67 (“Herrn Prof. Engelmann gewidmet”), Beethoven Quartet E flat Major, op. 74. Ref: JJC
8/12/1897: Sing-Akademie, Berlin Joachim Quartet (Joachim, Halir, Wirth, Hausmann), 4. Abend (I Cyclus); Mozart Quartet G Major, Mendelssohn Quintet B Major, op. 87 (Andreas Moser, 2nd viola), Beethoven Quartet E flat Major, op. 127. Ref: JJC
21/03/1898:St James’s Hall, London Saturday popular concerts. Joseph Joachim, Johann Secundus Kruse, Emanuel Wirth, Robert Hausmann, Beatrice Spencer, Henry Bird. Ref: AHRC
28/03/1898:St James’s Hall, London Monday popular concerts. Joseph Joachim, Johann Secundus Kruse, Emanuel Wirth, Robert Hausmann, Lilian Henschel, Henry Bird, Ref: AHRC
1899
28/2/1899Town Hall, Birmingham Mr. Halford’s Orchestral Concerts. Ref: AHRC
1901
25/4 – 10/5 1901: Joseph Joachim, Carl Halir, Emmanuel Wirth, Robert Hausmann. Handbill for Joachim Quartet concerts 1901. Ref: AHRC
27/04/1901: Joseph Joachim, Carl Halir, Emmanuel Wirth, Robert Hausmann, Alfred Hobday, Percy Such. Second Joachim Quartet concert. Ref: AHRC
4/5/1901:Queen’s Hall (afternoon), London Harold Bauer (piano, first appearance at Queen’s Hall) and Dr. Joachim (violin), conducted by Henry J. Wood. Ref: AHRC, AHRC(2)
9/5 – 23/5 1901: Donald Francis Tovey. Handbill for three recitals. Ref: AHRC
1902
26/4 – 15/5 1902: Joseph Joachim, Carl Halir, Emmanuel Wirth, Robert Hausmann, Handbill for Joachim Quartet concerts 1902. Ref: AHRC
26/04/1902: Joseph Joachim, Carl Halir, Emmanuel Wirth, Robert Hausmann. First Joachim Quartet concert 1902. Ref: AHRC
28/04/1902: Joseph Joachim, Carl Halir, Emmanuel Wirth, Robert Hausmann. Second Joachim Quartet concert 1902. Ref: AHRC
08/05/1902: Joseph Joachim, Carl Halir, Emmanuel Wirth, Robert Hausmann, Alfred Gibson. Fifth Joachim Quartet concert 1902. Ref: AHRC
03/11/1902: Konzertsaal der Hochschule für Musik, Berlin G. F. Handel, Messiah, Joseph Joachim, conductor. Ref: Chronik der Königlichen Akademie der Künste (1903), 53.
25/4 – 14/5 1903:St. James’s Hall, London Joseph Joachim, Carl Halir, Emmanuel Wirth, Robert Hausmann. Handbill for Joachim Quartet concerts 1903. Ref: AHRC
1/5/1903
5-14/5/1903
17/5 – 21/5 1903:Beethoven Chamber Music Festival, Bonn.
23/4 – 12/5 1904: Joseph Joachim, Carl Halir, Emmanuel Wirth, Robert Hausmann. Handbill for Joachim Quartet concerts 1904. Ref: AHRC
25/04/1904: Joseph Joachim, Carl Halir, Emmanuel Wirth, Robert Hausmann. Second Joachim Quartet concert 1904. Ref: AHRC
02/05/1904: Joseph Joachim, Carl Halir, Emmanuel Wirth, Robert Hausmann. Fourth Joachim Quartet concert 1904. Ref: AHRC
09/05/1904: Joseph Joachim, Carl Halir, Emmanuel Wirth, Robert Hausmann. Sixth Joachim Quartet concert 1904. Ref: AHRC
13/10/1904: Sing-Akademie, Berlin Joachim Quartet (Joachim, Halir, Wirth, Hausmann), 1. Abend (I Cyclus); Mozart Quartet B Major, no. 3, Haydn Quartet F Minor(Peters no. 47), Beethoven Quartet B Major, op. 130. Ref: JJC
24/11/1904: Sing-Akademie, Berlin Joachim Quartet (Joachim, Halir, Wirth, Hausmann), 3. Abend (I Cyclus); Haydn Quartet C Major, op. 54, no. 2, Brahms Quartet B Major, op. 67, Beethoven Quartet E Minor, op. 59, no. 2. Ref: JJC
29/12/1904: Sing-Akademie, Berlin Joachim Quartet (Joachim, Halir, Wirth, Hausmann), 4. Abend (I Cyclus); Schubert Quartet A Minor, op. 29, Beethoven Quartet B Major, op. 18, no. 6, Brahms Quintet no. 2 G Major, op. 111 (Andreas Moser, 2nd viola). Ref: JJC
1905
12/1/1905: Sing-Akademie, Berlin Joachim Quartet (Joachim, Halir, Wirth, Hausmann), 1. Abend (II Cyclus); All-Beethoven Program: Quartet A Major, op. 18, no. 5, Quartet F Minor, op. 95, Quartet E flat Major, op. 127. Ref: JJC
28/2/1905: (Berlin Cathedral) Geistliches Konzert für die Frauenhilfe, Emmy Dessin, Marie Götze, Joseph Joachim, Kawerau and H. Prüfer (conds.), Königl. Hof- und Domchor, members of the Königl. Kapelle and Königl. Hochschule für Musik. Joachim: J. S. Bach Concerto A Minor, Beethoven Romanze G Major, op. 40. Ref: JJC
2/3/1905: Sing-Akademie, Berlin Joachim Quartet (Joachim, Halir, Wirth, Hausmann), 3. Abend (II Cyclus); Haydn Quartet B Major, op. 76, L. 2, Mendelssohn Quartet E Minor, op. 44, Beethoven Quartet A Minor, op. 132. Ref: JJC
6/4/1905: Sing-Akademie, Berlin Joachim Quartet (Joachim, Halir, Wirth, Hausmann), 4. Abend (II Cyclus); Beethoven Quartet C Minor, op. 18, no. 4, Mozart Quintet E flat Major, Brahms Sextet no. 2, G Major, op. 36 (Andreas Moser, 2nd viola; Hugo Dechert, 2nd violoncello) Ref: JJC
10/4/1905: Philharmonic Hall, Berlin Concert zum Besten des Pensionsfonds des Berliner Philharmonischen Orchesters, (Nikisch, cond.), All-Beethoven Concert: Leonore Overture no. 2, Triple Concerto, op. 56 (Joachim, Hausmann, Georg Schumann), Symphony no. 3 in E flat Major, op. 55 (Eroica). Ref: JJC
12/10/1905: Sing-Akademie, Berlin Joachim Quartet (Joachim, Halir, Wirth, Hausmann), 1. Abend (I Cyclus); Haydn Quartet G Major, op. 17, Mozart Quartet D Minor, Beethoven Quartet E flat Major, op. 74. Ref: JJC
9/11/1905: Sing-Akademie, Berlin Joachim Quartet (Joachim, Halir, Wirth, Hausmann), 2. Abend (I Cyclus); Haydn Quartet G Minor, op. 74, no. 3, Brahms Quartet A Minor, op. 51, no. 2, Beethoven Quintet C Major, op. 29 (Andreas Moser, 2nd viola). Ref: JJC
30/11/1905: Sing-Akademie, Berlin Joachim Quartet (Joachim, Halir, Wirth, Hausmann), 3. Abend (I Cyclus); Schumann Quartet A Major, op. 41, no. 3, Mozart Quartet B Major (Peters No. 9), Beethoven Quartet C sharp Minor, op. 131. Ref: JJC
28/12/1905: Sing-Akademie, Berlin Joachim Quartet (Joachim, Halir, Wirth, Hausmann), 4. Abend (I Cyclus); Beethoven Quartet D Major, op. 18, no. 3, Brahms Quartet C Minor, op. 51, no. 1, Schubert Quintet C Major, op. 163 (Hugo Dechert, 2nd violoncello). Ref: JJC
1906
1/2/1906: Sing-Akademie, Berlin Joachim Quartet (Joachim, Halir, Wirth, Hausmann), 2. Abend (II Cyclus); All-Mozart Program: Quartet A Major, Trio (Divertimento) E flat Major, Quintet C Major (Andreas Moser, 2nd viola). Ref: JJC
1/3/1906: Sing-Akademie, Berlin Joachim Quartet (Joachim, Halir, Wirth, Hausmann), 3. Abend (II Cyclus); Haydn, Quartet F Major, op. 77, no. 2, Cherubini Quartet no. 1, D Minor, Schubert Quartet G Major, op. 161. Ref: JJC
15/3/1906: Sing-Akademie, Berlin Joachim Quartet (Joachim, Halir, Wirth, Hausmann), 4. Abend (II Cyclus); All-Brahms Program: Quartet no. 3, B Major, op. 67, Quintet no. 1, F Major, op. 88, Sextet no. 1, B Major, op. 18 (Andreas Moser, 2nd viola; Hugo Dechert, 2nd violoncello). Ref: JJC
3/5/1906:
7/5/1906:
10/5/1906: Bechstein Hall, London Joachim, Borwick, Sonatas of Bach, Mozart, Beethoven, and Brahms. Ref: The Times, London, 5 May, 1906.
12/5/1906:
14/5/1906: Bechstein Hall, London Joachim, Davies, Hausman, Trios of Beethoven and Brahms. Ref: The Times, London, 5 May, 1906.
11/10/1906: Sing-Akademie, Berlin Joachim Quartet (Joachim, Halir, Karl Klingler substituting for Wirth, Hausmann), 1. Abend (I Cyclus); Haydn Quartet C Major, op. 74, no. 1 (Peters no. 28), Mozart Quartet D Major, no. 24 (KV 499), Beethoven Quartet E flat Major, op. 127. Ref: JJC
13/10/1906: Sing-Akademie, Berlin All-Bach Program for the benefit of the Bach Birth-house in Eisenach, Berlin Philharmonic Orchestra (Georg Schumann, cond.), Jeannette Grumbacher – de Jong, Frieda Kwast – Hodapp, Joseph Joachim, Carl Halir, Bruno Hinze-Reinhold, August Scharrer; Bach Double Violiin Concerto (Joachim, Halir). Ref: JJC
8/11/1906: Sing-Akademie, Berlin Joachim Quartet (Joachim, Halir, Karl Klingler substituting for Wirth, Hausmann), 2. Abend (I Cyclus); Schubert Quartet A Minor, op. 29, Beethoven Quartet F Major, op. 18, no.1, Schumann Quartet A Minor, op. 41, no. 1. Ref: JJC
13/12/1906: Sing-Akademie, Berlin Joachim Quartet (Joachim, Halir, Karl Klingler substituting for Wirth, Hausmann), 3. Abend (I Cyclus); Mendelssohn Quartet E flat Major, op. 12, no. 2, Brahms Quartet A Minor, op. 51, no. 2, Beethoven Quartet F Major, op. 59., no. 1. Ref: JJC
1907
Photo: Elliott and Frye
10/1/1907: Sing-Akademie, Berlin Joachim Quartet (Joachim, Halir, Karl Klingler substituting for Wirth, Hausmann), 1. Abend (II Cyclus); All-Beethoven Concert: Quartet A Major, op. 18, no. 5, Quartet F Major, op. 135, Quartet op. 59, no. 3. Ref: JJC
31/1/1907: Sing-Akademie, Berlin Joachim Quartet (Joachim, Halir, Karl Klingler substituting for Wirth, Hausmann), 2. Abend (II Cyclus); Haydn Quartet G Major, op. 64, no. 4 (Peters no. 34), Beethoven Quartet B Major, op. 18, no. 6, Schubert Quintet C Major, op. 163 (Hugo Dechert, 2nd violoncello). Ref: JJC
28/2/1907: Sing-Akademie, Berlin Joachim Quartet (Joachim, Halir, Karl Klingler substituting for Wirth, Hausmann), 3. Abend (II Cyclus); Mozart Quartet B Major (“Hunt”), Schumann Quartet F Major, op. 41, no. 2, Brahms Quintet G Major, op. 111, no. 2 (Andreas Moser, 2nd viola). Ref: JJC
7/3/1907: Bösendorfer Saal, Vienna Third Joachim Chamber Music Soiree, Joachim Quartet. Beethoven, String Quartet in C Minor, Op. 18, No.4, G Major, Op. 18, No. 2, F minor, Op. 95, F major, Op. 135. Ref: Schenker
8/3/1907: Bösendorfer Saal, Vienna Fourth Joachim Chamber Music Soiree, Joachim Quartet. Beethoven String Quartet in B flat Major, Op. 18, No. 6, F Major, Op. 59, No. 1, A Minor, Op. 132. Ref: Schenker
9/3/1907: Bösendorfer Saal, Vienna Fifth Joachim Chamber Music Soiree, Joachim Quartet. Beethoven, String Quartet in A Minor, Op. 18, No. 5, E flat Major, Op. 74 (“Harp”), C# Minor, Op. 131. Ref: Schenker
6/4/1907: Sing-Akademie, Berlin Joachim Quartet (Joachim, Halir, Wirth, Hausmann), 4. Abend (II Cyclus); Haydn Quartet E flat Major, op. 64, no. 6, Beethoven Quartet D Major, op. 18, no. 3, Schubert Quartet D Minor, op. posth. (“Death and the Maiden”). Ref: JJC
spirit of modern, open-source scholarship. For copyright reasons having to do with source material, some of it remains password protected, and not available to the public. Information on this site is grouped in categories. The detailed Biographical Posts begin here (“Kittsee, 1831”), and continue as a series of linked articles. There are some gaps in the links — this is, as I say, an ongoing project. A Brief Biography begins below (“Joseph Joachim”).
Robert W. Eshbach
1) I am trying to locate the correspondence between Joseph Joachim and Bettina von Arnim that was sold by Henrici auction house in 1929. [Karl Ernst Henrici, Versteigerungskatalog 155, Berlin: am 5. Juli 1929.] I would be very grateful for any information leading to its whereabouts.
Joseph Joachim acknowledging the audience, drawing thought to be by Mendelssohn, ca. May 1844 (?), with autograph texts by Julius Benedict and Felix Mendelssohn.
