Bentley’s Miscellany, vol. 25 (London, May, 1849), pp. 646-647.





… if one desired a text, a theme whereupon to perform a sonata of praise, conviction, and hope, à la mode Germanorum, here is one within our gates ready to hand at this very “time of asking,” — in the head, heart, bow-arm, five fingers, and Cremona of young Joachim the violin player, who is more likely than not, one day to become THE VIOLIN PLAYER! More sterling nature — more sterling art — do not exist than those which he has to present to us. He exhibits power, passion, and prudence on his instrument — he plays like a man and like a master, because he has worked, and still works, like a scholar and a patient aspirant. Anything simpler, sincerer, or nobler than his style — anything completer, more perpetually instinct with intelligence, than his execution — comes not within my record. It was to him that poor Mendelssohn used to point with pride — the pride of a true German and a true artist — as to one who was likely to do credit to their country. The composer loved to hear the boy (for it is only yesterday that Joachim was a boy) play his music; and encouraged, and counselled, and played with him, as though he had been the boy’s elder brother. Well, all that is over now! — and, for the moment, German discord bids fair to make German music cease out of the land. But should good days ever come again for the art, and life and health be spared to him (he is happily strong and sound — in this not the least of a genius or a prodigy) the world can hardly fail to hear, far and wide, of Joachim as Spohr’s successor, with additions and emendations.