LITERATURE REVIEW

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Joseph Joachim, Herman Grimm, and American Transcendentalism:
Encounter with Ralph Waldo Emerson

Styra Avins

In Joseph Joachim: Identities/Identitäten, edited by Katharina Uhde and Michael Uhde, 373–386. Hildesheim; Zürich; New York: Georg Olms Verlag, 2024.

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Styra Avins’s chapter, “Joseph Joachim, Herman Grimm, and American Transcendentalism: Encounter with Ralph Waldo Emerson,” examines the profound impact of Ralph Waldo Emerson’s philosophical ideas on Joseph Joachim and his close friend, the German writer and art historian Herman Grimm, during a turbulent period in their early adulthood.

Joachim’s Early Struggles:

• After leaving the vibrant musical scene of Weimar, Joachim found himself in Hanover feeling isolated, frustrated by his limited compositional opportunities, and facing pressure from his family regarding marriage and military service.
• This period of intense inner turmoil is reflected in Joachim’s emotional letters to Gisela von Arnim, where he expressed a desperate yearning for love, creative fulfillment, and personal freedom.

Grimm’s Introduction to Emerson:

• In 1855, Grimm encountered Emerson’s Essays through their mutual friend, the American musicologist Alexander Wheelock Thayer, who was in Berlin conducting research for his biography of Beethoven.
• With Thayer’s guidance, Grimm delved into Emerson’s writings, finding deep resonance with the American philosopher’s ideas about self-reliance, individualism, and the transformative power of nature.

Emerson’s Influence on Joachim and Grimm:

• Avins argues that Emerson’s writings provided a much-needed philosophical framework for Joachim to navigate his personal and artistic struggles.
• Key tenets of Transcendentalism, such as the importance of intuition, nonconformity, and forging one’s own path, resonated deeply with Joachim’s desire for creative independence and personal authenticity.
• Grimm, who translated Emerson’s essays into German, also found profound inspiration in his ideas. He even credited Emerson’s influence on his own writing, particularly his groundbreaking biography of Michelangelo.

Specific Examples of Emersonian Influence:

• Avins highlights passages from Joachim’s letters where his newfound embrace of self-reliance and nonconformity is evident.
• For example, Joachim’s decision to convert to Christianity in 1855, a move that distanced him from his family’s Jewish traditions, can be seen as an act of personal agency inspired by Emersonian ideals.

The Significance of Shared Ideals:

• The shared enthusiasm for Emerson’s ideas solidified the bond between Joachim and Grimm, providing intellectual and emotional support during a challenging time.
• This shared intellectual foundation helped them to weather personal and professional storms and ultimately contributed to their artistic development and personal growth.

Avins’s chapter provides valuable insight into the intellectual and emotional landscape that shaped Joachim’s early career, highlighting the profound impact of Emerson’s Transcendentalist philosophy on both Joachim and Grimm. By exploring their embrace of these ideas, the chapter offers a nuanced understanding of Joachim’s artistic and personal journey, revealing how his quest for self-discovery and creative fulfillment was nurtured by a vibrant transatlantic exchange of ideas.

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“A Large, True Heart”  
The Sounding of Joseph Joachim’s Friendship with Charles Villiers Stanford

Adéle Commins

In Joseph Joachim: Identities/Identitäten, edited by Katharina Uhde and Michael Uhde, 187–204. Hildesheim; Zürich; New York: Georg Olms Verlag, 2024.

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Joseph Joachim is well-documented as having had close associations with many great musicians of the nineteenth century, including Mendelssohn, Liszt, Clara and Robert Schumann, and Brahms. Joachim also had a significant influence on the career and music of the Irish-born composer Charles Villiers Stanford (1852–1924). Adèle Commins’s chapter “‘A Large, True Heart’: The Sounding of Joseph Joachim’s Friendship with Charles Villiers Stanford” explores the friendship between Joachim and Stanford over four decades, from their first meeting when Stanford was a young boy to Joachim’s death in 1907, and is briefly summarized as follows:

Joachim served as a mentor to Stanford throughout his career. In 1876, Joachim advised Stanford to seek training in Germany. Joachim also helped Stanford change composition teachers from Carl Reinecke to Friedrich Kiel. Joachim seems to have viewed himself as a father figure to Stanford, signing an 1899 letter to him “always your affectionate Uncle Jo”. For his part, Stanford relied heavily on Joachim for advice about his career as a musical director and composer, seeking his feedback on musical scores and programming decisions.

Joachim’s frequent visits to England and their shared views on music were important for the development of their relationship. Joachim made his English debut in London in 1844, and from then on, considered England his “second home.” Stanford arranged for Joachim to perform regularly at Cambridge when Stanford was the musical director of the Cambridge University Musical Society. In turn, Joachim was a champion of Stanford’s music, praising it in correspondence with Brahms and requesting that Stanford send him scores so he could arrange performances in Germany. Joachim also helped Stanford in his role as Professor of Music at Cambridge University, sharing his expertise with him by suggesting questions for examinations and providing musical examples.

Stanford wrote an article about Joachim shortly after his death in which his respect for Joachim as a musician, composer, performer, conductor, and friend is evident. Stanford’s autobiography expresses similar sentiments about his friendship with Joachim. Stanford praised Joachim’s traditional tendencies, reverence for the masters, and his purist attitude toward composition – characteristics they both shared. Stanford also admired Joachim’s personality and approach to life, contrasting it with the “large personalities and divas” he often encountered in his work. Stanford appreciated Joachim’s sense of humor and viewed him as a “model of sanity”.

Stanford dedicated his String Quartet No. 5 to Joachim after his death. The dedication to Joachim was more than just an association with a famous musician—it was Stanford’s way of processing the death of his friend. The quartet, the subtitle of which is “In Memoriam Joseph Joachim,” includes musical allusions to Joachim’s Romance Op. 2 No. 1 for violin and piano. The motto theme of the quartet is based on the first phrase of Joachim’s Romance, which Stanford described to Herbert Thompson as “quite unconsciously evolved”. Stanford described the quartet as not meant to be sad because Joachim “was not the sort of man whose memory could be associated with sadness, at least not to me”.

Joachim remained an important influence on Stanford throughout his life. Their relationship evolved over time from family friend to inspiration to mentor to friend and colleague. Stanford and Joachim shared a respect for one another, supported one another, and benefited from a long and healthy relationship.

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Joachim in Weimar 1850-1852

Robert Whitehouse Eshbach

In Joseph Joachim: Identities/Identitäten, edited by Katharina Uhde and Michael Uhde, 387–407. Hildesheim; Zürich; New York: Georg Olms Verlag, 2024.

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Robert Whitehouse Eshbach’s chapter, “Joachim in Weimar 1850–1851,” delves into a crucial period in Joachim’s early adulthood, examining how his time in Weimar shaped his artistic development and career trajectory.

Eshbach challenges the prevailing narrative that Joachim left Weimar due to artistic disillusionment with Liszt, arguing instead that their relationship was one of mutual respect and admiration during this period. Joachim’s move to Hanover was driven more by career aspirations and the promise of a “large sphere of influence,” facilitated by Liszt himself.

Joachim’s Decision to Move to Weimar:

• Following successful concerts in Paris, Joachim visited Weimar and was captivated by Liszt’s charisma and the town’s potential as a center for new music.
• The position of Concertmeister offered a prestigious role, albeit with a lower salary than his Leipzig position.
• Joachim prioritized the opportunity to collaborate with Liszt and believed it would be beneficial for his artistic growth.

Early Experiences in Weimar:

• Contrary to expectations, Joachim encountered a stagnant musical scene upon his arrival. Liszt was often absent, leaving him feeling isolated and frustrated.
• Joachim’s duties primarily involved playing in the Hofkapelle, performing operas he considered “kanaillöse Musik”.
• This experience contrasted sharply with the vibrant intellectual atmosphere he had anticipated.

Friendship and Artistic Collaboration:

• The arrival of Hans von Bülow in Weimar marked a turning point for Joachim. They formed a close bond with Raff, finding solace in their shared artistic ideals.
• Their frequent chamber music performances, particularly their acclaimed rendition of Beethoven’s “Kreutzer” Sonata, provided artistic fulfillment.
• Liszt’s occasional presence fostered a sense of camaraderie and intellectual exchange. He expressed “genuine affection” for Joachim and nurtured a supportive environment during his visits.

Joachim’s Evolving Relationship with Liszt and the “New German School”:

• Eshbach highlights Joachim’s initial enthusiasm for the “New German School”.
• This enthusiasm is evident in Joachim’s dedication to learning the music of Liszt and Raff, and his suggestion to perform their works with Liszt in 1854.
• It was only after Joachim left Weimar for Hanover and came under the influence of the Schumanns and Brahms that his allegiance shifted. His famous “Absagebrief” to Liszt in 1856 signaled a decisive break with the Weimar circle.

Drawing on newly discovered concert programs and archival documents, Eshbach provides a detailed account of Joachim’s musical activities in Weimar.

These sources reveal:

• Joachim’s extensive operatic repertoire as concertmaster, encompassing works by composers like Mozart, Weber, Rossini, and Wagner.
• His participation in a series four public chamber music soirées, showcasing his dedication to this genre.

Eshbach’s chapter offers a nuanced understanding of a transformative period in Joachim’s life, illuminating the complexities of his artistic journey and his shifting allegiances within the musical world. He sheds light on the crucial role Weimar played in shaping Joachim’s identity as a performer, collaborator, and, ultimately, as a leading figure in the musical landscape of the nineteenth century.

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Joseph Joachim and Wilma Neruda
Constructing Musical Identity in Victorian London

Natasha Loges

In Joseph Joachim: Identities/Identitäten, edited by Katharina Uhde and Michael Uhde, 263–278. Hildesheim; Zürich; New York: Georg Olms Verlag, 2024.

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Natasha Loges’s chapter, “Joseph Joachim and Wilma Neruda: Constructing Musical Identity in Victorian London,” explores how gender, nationality, class, and connections to famous composers shaped the identities of two successful violinists. The chapter begins by reflecting on the concept of identity and the challenges of interpreting historical sources, particularly for Neruda, who left fewer behind than Joachim.

Joachim and Neruda Shared Similarities in Their Backgrounds and Careers:

• Both were born on the “periphery” of the Habsburg Empire: Joachim in Hungary, Neruda in Moravia.
• They came from modest backgrounds and experienced turbulent marriages.
• Both achieved great success on the vibrant London concert scene.

However, factors like gender and connections to composers led them down different paths:

• Joachim’s association with Brahms contributed to his enduring visibility, while Neruda, despite being exceedingly successful, lacked such a connection.
• The absence of surviving children to manage her legacy and the lack of recordings further contributed to Neruda’s comparative obscurity.

Loges examines the broader context of women and the violin in the late nineteenth century. During this period, women’s roles and abilities were hotly debated, and female violinists often faced stereotypes and prejudice. Male violinists like Joachim were seen as strong and intellectual, while women were expected to be graceful and charming, potentially limiting their artistic expression.

To understand how these broader societal views impacted Joachim and Neruda, Loges analyzes their public image through statistical data and press coverage:

• Joachim received significantly more coverage in the British press, particularly during the peak of his career in the 1870s and 1880s.
• The way the press described them also reflected prevailing gender stereotypes. Joachim was praised for his intellectual depth and musical mastery, while Neruda was admired for her charm and beauty.

A comparison of their repertoire reveals both overlaps and key differences:

• Both violinists frequently performed works by Beethoven, Mendelssohn, and Bach.
• Joachim, as a composer, benefited from detailed analytical program notes written for his concerts at the Crystal Palace, further bolstering his reputation as an intellectual figure.
• Neruda, who did not compose, may have been discouraged from doing so due to the challenges faced by women composers. As a result, her reception history is less documented.

Joachim’s “Hungarian” and “German” Identities:

Loges analyzes how Joachim strategically presented different aspects of his identity for specific purposes:

• His “Hungarian” identity was emphasized when performing character repertoire, like his own Hungarian Concerto, appealing to the Victorian fascination with exoticism.
• Grove’s program notes for this concerto even connected its virtuosity and cadenza to “Gipsy” music-making, reinforcing its exotic appeal.
• Conversely, Joachim’s “German” identity was foregrounded when interpreting works by Bach and Beethoven, asserting his authority in this repertoire.

Loges concludes by summarizing the key identity transformations both artists underwent throughout their lives:

• Joachim transitioned from a virtuoso performer to a respected teacher and conductor later in his career.
• Neruda, despite her initial success as a child prodigy, maintained a consistent public image as a charming and graceful performer.

By comparing the careers and reception of Joachim and Neruda, Loges’s chapter highlights how gender, nationality, and connections to powerful figures shaped the construction of musical identity in Victorian London.

The chapter also suggests that Neruda’s legacy deserves further exploration and recognition, challenging the traditional focus on Joachim in music history.