04 Thursday Dec 2014
Posted in Scores
Joseph Joachim, Ouvertüre zu einem Gozzi’schen Lustspiel, op. 8
Composed: Autumn 1854
Dedication: Herrn Generalmusikdirektor Fritz Steinbach
Publication: Berlin, Simrock, 1902
Autograph: Hamburg, Staats- und Universitätsbibliothek
See: Kompositionsverzeichnis Joseph Joachim, in Beatrix Borchard, Stimme und Geige: Amalie und Joseph Joachim, Biographie und Interpretationsgeschichte, Wien, Köln, Weimar: Böhlau Verlag, 2005.
28 Friday Nov 2014
Posted in Miscellaneous Articles
Wilhelm Joseph von Wasielewski, Die Violine und ihre Meister (4th ed.). Leipzig: Breitkopf und Härtel, 1904, pp. 502-525.
Wilhelm Joseph von Wasielewski
Joseph Joachim und die neue Berliner Schule
26 Wednesday Nov 2014
Posted in Concert Reviews & Criticism
Das Magazin für Literatur, Vol. 68, No. 18 (May 6, 1899), p. 425.
Musikalisches.
Am 17. März waren es sechzig Jahre, daß Joseph Joachim in Pest vor die Oeffentlichkeit getreten. Damals spielte der kleine “Pepi” im Adels-Kasino Pechatscheks “Variationen über Schuberts Trauerwalzer” und gemeinsam mit seinem Lehrer Serwaczynski ein Doppeltkonzert von Eck. Was seitdem Joseph Joachim der Kunst geworden ist, was er ihr heute noch bedeutet, wissen wir alle. Und so hat man eine schöne Gelegenheit, einen Meister zu feiern, nicht vorübergehen lassen wollen. In den Räumen der Philharmonie fanden sich am Sonnabend (22. April) die Spitzen der Berliner Gesellschaft zusammen. Auf dem Podium saß ein Orchester, dessen größter Teil aus Schülern Joachims gebildet wurde. Es war, als huldigte eine Familie ihrem verehrten Oberhaupt. Um 1/2 7 erschien Joachim, begrüßt von schmetternden Fanfaren, die Herr Professor Roßberg in Uniform kommandierte. Auf einem mit Blumen geschmückten Sessel nahm der Jubilar Platz. Rosa Poppe sprach einen schlichten Prolog Herman Grimms, an dessen letzte Zeilen der feurige Vortrag von Weber “Euryanthe” Ouvertüre sich anschloss. An diesem Tage gab Herr Generalmusikdirektor Fritz Steinbach sein bestes. Herr Petri spielte Joachims “Variationen” für Violine und Orchester mit untadeliger Technik; nach ihm das Orchester unter Steinbach Schumanns “Ouvertüre zu Genoveva,” die zum “Sommernachtstraum” und den letzten Satz aus Brahms C-moll-Symphonie. Nr. 6 des Programms war frei geblieben. Drei Sternchen ließen etwas besonderes ahnen. Während die Anfangstakte von Beethovens Violinkonzert erklangen, schritten auf Joachim auserwählte Jungfrauen zu und überreichten ihm die Geige. Der Jubilar verstand sofort den Sinn dieser symbolischen Handlung, sträubte sich zwar ein Weilchen, stieg endlich aber doch aufs Podium und begann nach einer kleinen Rede, die auf seine wund geklatschten Hände hinwies und bemerkte, daß hier Leute säßen, die es ebenso gut machten. Das war natürlich nur eine kleine Schmeichelei. Nachher zeigte er diesen Leuten, daß ihnen der Meister doch über ist. Joachim spielte, nachdem er eine anfängliche Unsicherheit schnell überwunden, herrlich wie nur je, eben, wie man es seit Jahren von ihm gewohnt ist. Ein ungeheurer Jubel erhob sich am Schluß des Konzertes. Joachim aber war jetzt in Stimmung. Und er leitete dann noch ohne Fürbitte weißbekleideter Jungfrauen Bachs G-Dur-Konzert für 3 Violinen, 3 Violen, 3 Violoncello und Basso continuo. Ein Bankett, an dem tausend Personen teilgenommen haben sollen, sorgte nach soviel geistigen Genüssen in würdige Weise auch für des Leibes Wohl.
E. U.
21 Friday Nov 2014
Posted in Reminiscences & Encomia
The Morning Call (San Francisco), Vol. 74, No. 95 (September 3, 1893), p. 20.
Reminiscence articles are posted here for historical interest only, with the caveat that they may contain false or misleading information.
SIGMUND BEEL.
A Rising San Francisco Violinist.
HIS STUDIES IN GERMANY.
Mr. Beel Speaks of Concerts Here and Compares Them With Those in Europe.
The Carr and Beel Saturday “populars” have now become one of San Francisco’s established institutions. Before they started into existence there were no regular series of concerts which continued season after season.
The success of the “pops” — as they are termed by anglomaniacs — however, has encouraged other musicians to branch out on similar lines, and now San Francisco is beginning to be considered a very promising concert field.
“I believe it was Mrs. Carr’s idea,” remarked Sigmund Beel, when questioned by the CALL reporter on the subject. “We had been speaking of the Saturday and Monday ‘pops’ that are a feature of music in London, and she remarked that she did not see why the same idea could not be made a success here. We naturally had to work very hard at the beginning to insure anything like success, but I think it speaks well for the people here that twenty-eight concerts should have been prosperous.
“Times have changed wonderfully in late years,” continued Mr. Beel, reflectively. “The people here are really musical, although until recent years they have scarcely had the opportunity to develop their tastes in that direction. When I was a boy it was impossible to get first-class violin lessons. Why? Well, I think people were looking more for gold dust than for anything else. They did not devote much time to developing their latent taste for music.”
Sigmund Beel, however, like one or two other young Californians who are beginning to make a name in the musical world, seems to have studied in spite of obstacles. He was born in North Oakland, and as a boy devoted a great deal of time to the violin, although his parents intended him to follow a medical career. Indeed, Sigmund Beel matriculated at the State University and studied there for two years, but finally resolved to abandon his collegiate studies and devote his life entirely to music.
It was toward Germany that he turned his steps when he made this resolution, for as every one knows, Germany is the home of Joachim, the master among the violinists of the age. In Munich, Levy, the conductor of the Bayreuth festivals, chanced to hear the young Californian play, and was so charmed with his talent that he immediately persuaded him to go to the high school in Berlin, with a warm letter of recommendation to Joachim, who directs that celebrated institution.
Joachim was thoroughly satisfied with Sigmund Beel’s ability, and took him as his own personal pupil for the violin, an honor by no means conferred upon all the students of the high school. In this congenial atmosphere the young Californian plunged into hard study, supplementing his violin lessons by instruction in theory from Franz Schultz, in piano from Alexander Dorn, whose father was the teacher of Schumann, the famous composer, and by attending Professor Spitta’s musical lectures.
When questioned respecting his student life in Berlin Mr. Beel replied enthusiastically: “Of course it was delightful. It is not alone the music heard that gives the life its charm, but the fact of living in an entirely artistic and musical world. It has always seemed to me such a simple, sincere life that they had over there. I remember once when several of us were giving a concert in the town of Potsdam. We met the old pastor in the afternoon when we were looking through the beautiful memorial church. He promised to come to our concert, and in the evening after the performance he thanked us for the pleasure we had given him by laying a hand on each of our heads and giving us his blessing. I think we were all deeply impressed by the incident.
“But my pleasantest recollection of student life is that of Joachim’s fiftieth anniversary as a musician. It was a great day, for Joachim is adored by his pupils and friends as well as by the public. All of his old pupils came from far and near to take part in the festivities of his anniversary.
“Years before Joachim had composed two overtures, one to ‘Hamlet’ and one to ‘Richard III.’ [sic. recte: Henry IV] They had never been performed and he had them under lock and key in his desk, and seemed, in fact, to have forgotten their existence. The students found out about them, however, and managed to steal them without Joachim’s knowledge. Then they assembled an immense chorus and orchestra and rehearsed them, with Valdemar Bargiel as conductor.
“On the anniversary day all the students and professors assembled in the hall of the high school. The exercises opened with a cantata by Bach, which Joachim conducted. Then Professor Spitta surprised the master by unveiling his bust and presenting it to him in a few well-chosen words. After that we began to perform a Joachim overture, and I never saw a man so taken aback in my life.
“‘A speech!’ we all called out at the end, but Joachim was feeling so affected that he could scarcely utter a word, though he is a very capable speaker on ordinary occasions. Then the student began to cry, ‘Play something,’ and he took up the nearest violin and played a chacone of Bach as he had never in his life played before. That is my happiest recollection of student life,” concluded Sigmund Beel.
“And how did the day end?” was asked.
“There was to be a banquet in Joachim’s house in the evening, and I suggested that we should take the horses out of the carriage and drag our master there ourselves. Such a thing had never been heard of in Berlin, but the students caught on to the idea. At the banquet Johannes Brahms presented him, in the name of his friends in Berlin, with $2500, and the Emperor sent him a great gold medal for art and science. It had never been presented to anyone since Spontini’s time.
“That is Joachim’s picture,” said Mr. Beel, pointing to a large photograph that hung over the piano in the music-room of his home in California street, “and that picture in the corner, he added, “is Paganini. What a wonderful genius Paganini must have been to dare to branch out into such original lines, and break through the traditions of his age! No wonder the people said he was possessed by an evil spirit when they heard of his playing on one string and playing on a shoe. I would give a good deal to have been able to hear Paganini though. He must have possessed an extraordinary power over the violin.”
“Are you the happy owner of a Cremona violin?” was asked.
Mr. Beel shook his head sadly. “I used a beautiful Bergonzi for three years in Germany that Joachim lent me, but I returned it on coming to America. I have a valuable old Italian violin though, but it is from a Venetian workshop, not from Cremona. Would you like to see it?
And with the true violinist’s affection for the bits of wood and string that cunningly handled speak more sweetly than the human voice Sigmund Beel brought his treasure from its case and pointed out its unscratched varnish and its rich, deep color.
“Did you play much in Europe?” was asked.
“Oh, yes; a great deal,” was the reply. “I toured through Holland as soloist with the Philharmonic Orchestra of Berlin, playing the Beethoven concertos [sic] and other classical music, besides performing in a number of German towns.”
“And how do the audiences here and there compare?” asked the reporter.
“There is fully as much sympathy and intelligence to be found here. In fact, I have never felt so much pleasure as when playing for a San Francisco audience. Of course there is a great deal in the way a programme is arranged. It must be given with a view of not tiring people. An hour and a half is quite long enough for a morning concert to last. This season we intend to give one programme devoted entirely to compositions by American composers.
“Mrs. Carr, Mr. Heine and myself have been working together for three years now,” concluded Mr. Beel, “and we feel more satisfied than ever with the outlook for music in this city.”
Sigmund Beel was born in North Oakland, CA in 1863. He studied with Joseph Joachim at the Berlin Hochschule. He died in San Francisco in 1953.
10 Monday Nov 2014
Posted in 2 Articles and Essays — RWE
Carl Reinecke, Joseph Joachim and the Reinecke Violin Concerto, op. 141
Robert W. Eshbach
arl Reinecke’s violin concerto in G minor, op. 141 is the Sleeping Beauty among nineteenth-century violin concerti. Written for Joseph Joachim, who performed it only once, in a Leipzig Gewandhaus concert under Reinecke’s direction on 21 December 1876, it slept thereafter undisturbed until violinist Ingolf Turban recorded it with the Berner Symphonie-Orchester in September of 2004. [1] Reinecke’s concerto is a work of considerable inherent quality that never entered the repertory, and therefore had no impact on the future history of the genre. It nevertheless occupies a noteworthy niche in the evolutionary history of the Romantic violin concerto.
Reinecke composed two violin concerti. The first was conceived in Barmen in the year 1857, and was premiered under Reinecke’s baton by Franz Seiss. It was repeated in altered form by Ferdinand David in Leipzig, on 3 October 1858, and thereafter put aside. [2] It was never published. Reinecke himself described the work as his “totgeborenes Kind” (“stillborn child”). He had originally wanted Joachim to give its Leipzig performance, but Joachim, who had also recently received the revisions of Brahms’s D minor piano concerto, found Reinecke’s work uninspired by comparison. On 3 January 1858 he wrote to Clara Schumann: “Reinecke hat ein Violin-Concert geschickt — so gewöhnlich, so manchmal sogar ungeschickt klingend, wie ich’s von einem so routinirten Componisten nie erwartet hätte.” [3] Joachim, who never played a work that he did not believe in, refused Reinecke’s invitation.
With the Violin Concerto op. 141, the matter stood otherwise. Reinecke’s G minor concerto, which carries the dedication “Seinem Freunde Joseph Joachim,” belongs to a distinguished tradition of “Freundschaftskonzerte” that includes, among others the concerti of Beethoven, Mendelssohn and Brahms. Like the other concerti in this tradition, Reinecke’s work seems to embody many of the characteristics of its dedicatee’s violin playing, as well as his general attitude toward art. A critic for Signale für die musikalische Welt mentions that Joachim took up the work “mit ersichtlicher Liebe und Hingebung.” [4] Nevertheless, Joachim’s performance at the premiere fell below his usual standard. The reviewer for the Musikalisches Wochenblatt wrote: “Die diesmalige Ausführung des Werkes war eine nur mittelmässige; weder der Solist, noch das begleitende Orchester wussten ihren Vortrag von mancherlei Unsauberkeiten, als da sind: theilweise ziemlich unreine Intonation, schlaffe Rhythmik etc., hinreichend frei zu halten. Den befriedigendsten Eindruck hinterliess als Composition, wie auch hinsichtlich der praktischen Ausführung, der zweite (langsame) Satz des Concertes.” [5]
Reinecke’s concerto never won a place in Joachim’s concert repertoire; it is likely that it was crowded out by the appearance, the following year, of Brahms’s Violin Concerto in D major, op. 77. Though it was published by Breitkopf und Härtel in October 1877, no other violinist seems to have taken it up, perhaps out of deference to its prominent dedicatee. When Joachim and Reinecke next performed together, Joachim played Spohr’s E minor concerto (likely no. 7, op. 38, a favorite of Joachim’s), and the second movement of Joachim’s own Hungarian Concerto, op. 11. [6]
*
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Program: Stadtgeschichtliches Museum Leipzig
Carl Reinecke and Joseph Joachim met for the first time in 1843. Reinecke was nineteen years old, and Joachim twelve, when they made their Leipzig debuts on the same 16 November Gewandhaus program. In his memoir, Erlebnisse und Bekenntnisse, Reinecke recalled the event:
“[…] da trat ein zwölfjähriger Knabe im Jäckchen und mit umgeschlagenem Hemdkragen auf und trug die seinerzeit berühmte Othellophantasie von Ernst mit vollendeter Virtuosität und mit knabenhafter Unbefangenheit vor. Es war Joseph Joachim, dem am Schlusse das sonst etwas reservierte Gewandhauspublikum stürmisch zujubelte. […] Daß das Publikum meine Leistung zwar freundlich aufnahm, mir aber nicht in gleicher Weise zujauchzte wie dem zwölfjährigen Wunderknaben, kränkte mich nicht, denn ich war verständig genug, um es für selbstverständlich zu halten, daß das Publikum einen Knaben, der auf seiner Geige das ganze Feuerwerk eines brillanten Virtuosenstückes hatte aufblitzen lassen, enthusiastischer belohnte als einen neunzehnjährigen befrackten Jüngling, der die liebenswürdige, aber keineswegs bravourmäßig ausgestattete Serenade von Mendelssohn vorgetragen hatte.” [7]
In the immediately ensuing years, Reinecke and Joachim had ample opportunity to form a close musical and personal relationship. Reinecke remained in Leipzig until 1846, returning briefly in 1848. Joachim lived in Leipzig until October 1850, after which he settled in Weimar as concertmaster under Franz Liszt. During their Leipzig years, the two young musicians performed together frequently, in both private and public settings, often in partnership with Gewandhaus colleagues Ferdinand David, Moritz Klengel, Niels Gade, Andreas Grabau, and Franz Carl Wittmann.
Though primarily a pianist, Reinecke was also an accomplished violinist. “Meine Violinstudien,“ he wrote, “mußte ich zunächst nach der Schule von Rode, Kreutzer und Baillot, später nach der von Spohr betreiben. Ich brachte es schließlich bis zu dem ersten Konzert von de Bériot und dem jetzt vergessenen in Es-Dur von Spohr. Mein größter Stolz als Geiger bleibt aber, daß ich einst der Witwe Felix Mendelssohns im Verein mit David, Joachim und Rietz einige Quartette von ihrem dahingeschiedenen Gatten vorgespielt hatte.“ [8]
Active composers both, Reinecke and Joachim belonged to the circle of Mendelssohn and Schumann. They shared many musical opinions, among them a strong antipathy toward virtuosity for its own sake. [9] This bias is evident in Reinecke’s late assessment of Joachim’s musical career:
“Ganz naturgemäß stak Joachim bei seinem Erscheinen in Leipzig noch ganz im Banne der Virtuosität, aber durch den steten Umgang mit Mendelssohn, der den Knaben wie ein Vater liebte und förderte, ward er gar bald ins Heiligtum der Kunst eingeführt, und fortan verwertete er sein künstlerisches Können lediglich zur vollendeten Wiedergabe wahrhafter Kunstwerke der Geigenliteratur.” [10]
In 1853, Reinecke was among the auditors in Düsseldorf when Joachim played Beethoven’s violin concerto under Schumann’s leadership at the thirty-first Niederrheinisches Musikfest. “Welch ein andrer, größerer war er inzwischen geworden,” Reinecke recalled. “Einst Gefolgsmann der Virtuosität, jetzt Priester der Kunst. […] Es ist ein müßiges Beginnen, so ein vollendetes Spiel mit Worten zu beschreiben. Aber noch heute, nach sechsundfünfzig Jahren, erinnere ich mich deutlich, daß ich nach diesem Vortrage mich in die einsamsten Gänge des Hofgartens schlich, um ungestört dieses künstlerische Ereignis noch einmal in meinem Innern zu durchleben.” [11]
Like others in the Mendelssohn/Schumann circle, Reinecke and Joachim shared a predilection for Classical composers and their compositions — for Bach, Mozart and Beethoven in particular. Reinecke went so far as to occupy himself with Joachim’s repertoire, preparing a piano reduction for an edition of Beethoven’s violin concerto, and arranging Bach’s Chaconne and a few other movements from Bach’s violin Sonatas and Partitas for piano solo. But Reinecke’s special love was Mozart: his advocacy for Mozart’s piano concerti was expressed in his 1891 book, Zur Wiederbelebung der Mozart’schen Clavierconzerte. Today, this advocacy may seem an innocuous enough undertaking, but in those days of musical party-spirit, it evoked considerable derision from the ranks of the Fortschrittspartei — and not in Germany alone. In the New York Evening Post, for example, we read:
“Carl Reinecke, late conductor of the Gewandhaus concerts at Leipsic, has written a brochure in which he pleads for the restoration of the Mozart concertos to our concert halls. In his conservative blindness he cannot see that those works are hopelessly antiquated. Reinecke has written more than 200 works, of which probably a dozen will survive him a decade or two. The works of conservative and reactionary composers (like Reinecke and Brahms) never live long, for genius means progress in an inflexible line of evolution.” [12]
Strongly influenced by Hegelian philosophy, the advocates of the neudeutsche Schule argued the cause of “progress” in the arts. For them, Mozart’s works represented, in the buzzword of the day, “einen überwundenen Standpunkt.” [13] Reinecke and Joachim, on the other hand, viewed the musical classics sub specie aeternitatis — that is to say, “from the standpoint of eternity,” as timeless expressions of spiritual truth. This is the sense of Joachim’s lines, jotted as a dedication in a book of Brahms lieder that Joachim gave to Agathe (Siebold) Schütte in the Autumn of 1894:
Nur das Bedeutungslose fährt dahin.
Was einmal tief lebendig ist und war
Das hat Kraft zu sein für immerdar. [14]
The two friends went so far as to share a mutual interest in the works of Spohr, though a less fashionable composer could hardly be found. In an undated letter, Joachim writes:
Lieber Reinecke!
Es hat mir leid gethan, Deinen Spohr-Erinnerungsabend nicht mitmachen zu können, da ich wirklich eine große Verehrung für ihn hege, und glaube er wird jetzt unterschätzt. Auch seine Zeit wird wohl wieder kommen, d. h. man wird sich unbefangener manches Herrlichen erfreuen, das er aus echtester Empfindung gesungen als jetzt möglich ist, wo starke Aufregungen und Geistreichelei an der Tagesordnung sind. [15]
Today, one might be tempted to apply Joachim’s words concerning Spohr to Reinecke and his violin concerto. Already in 1858, this seems to have been Eduard Hanslick’s view:
“Reinecke ist eine ungemein liebenswürdige künstlerische Natur. […] Mit der Technik der musikalischen Composition vollständig vertraut, würde er so gut wie mancher Andere die imponirenden Grimassen falscher Genialität ziehen, und sich damit zu einer gewissen Größe hinauflügen können. Daß er es verschmäht, und nur bedacht ist, dasjenige in reiner Form zu geben, was ihm die Natur echt verlieh, macht uns diesen Mann in dieser Zeit aufrichtig wert.” [16]
*
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This Classical, anti-virtuosic, orientation placed Reinecke and Joachim on one side of a significant aesthetic divide. It is customary today to separate violin concerti into two categories: virtuoso concerti and “symphonic” concerti. [17] Nineteenth-century virtuoso concerti include, for example, the works of Paganini, Ernst, Lipinski, Maurer, Wieniawski, Vieuxtemps, et alia, in which the technical and soloistic element predominates and is set in high relief against the tutti. To the other category belong concerti of Spohr, Mendelssohn, Bruch, Brahms, Dvorák and Chaikovsky: works in which the symphonic element plays a pervasive role, and in which the solo violin holds more-or-less constant dialogue with the tutti. Virtuoso concerti have much in common with operatic virtuosity and the art of embellishment. The symphonic style originates in the Classical works of Haydn, Mozart and Beethoven, and, as the term implies, shares a common history and aesthetic with the symphony itself.
Indeed, the history of the 19th century symphonic violin concerto closely reflects the troubled progress of the symphony during the same period. It is well-known that the generation that followed Beethoven had significant issues with the perpetuation of the symphonic form. Carl Dahlhaus famously wrote:
“Die symphonie, die durch Beethoven aus einer Gattung, die eine unbefangene Massenproduktion zuließ, zur “großen Form” geworden war […] geriet um die Mitte des 19. Jahrhunderts in eine Krise, als deren sichtbares Zeichen die Tatsache erscheint, daß nach Schumanns Dritter Symphonie (1850), die chronologisch seine letzte ist, fast zwei Jahrzehnte lang kein Werk von Rang geschrieben wurde, das die absolute, nicht durch ein Programm bestimmte Musik repräsentiert. […] Um so auffälliger — und für Historiker, die in der Geschichte einer Gattung nach ungebrochener Kontinuität suchen, geradezu irritierend — ist die Tatsache, daß in den siebziger und achtziger Jahren mit den Werken von Bruckner und Brahms, Čajkovskij und Borodin, Dvořák und Franck die symphonie in ein ‘zweites Zeitalter’ eintrat, dessen Hinterlassenschaft heute, ein Jahrhundert später, immer noch einen großen Teil des Konzertrepertoires beherrscht.” [18]
Dahlhaus’s formulation was the subject of considerable discussion at the 1989 Internationales Musikwissenschaftliches Colloquium in Bonn, “Probleme der Symphonischen Tradition im 19. Jahrhundert.” [19] The history of the symphonic violin concerto may perhaps shed light on this discussion: first, because the composers who wrote them were by and large the same as those who cultivated the symphony, and second, because the symphonic violin concerto, while a related form of “serious” orchestral music, offered those composers a congenial alternative to the symphony — an alternative that allowed more lattitude for innovation in form and expression than the symphony, which by mid-century had become moribund, through its pretentions, its formal and aesthetic limitations, and the intimidating influence of Beethoven. The violin concerto therefore allowed the creation of at least a few symphonic “Werke von Rang” during the fallow decades of the symphony that Dahlhaus references.
The prime example of this is Max Bruch’s Violin Concerto No. 1 in G minor, op. 26 (1866), which likely served as an inspiration for Reinecke’s concerto in the same key. The first movement of Bruch’s concerto is unusual by any standard: a free introduction (Bruch uses the Wagnerian term Vorspiel) to the central slow movement that is the real raison d’être of the piece. Bruch had compunctions about whether a work in so unorthodox a form could properly fit the genre, but was reassured by Joachim:
“Auf Ihre ‘Zweifel’ freue ich mich Ihnen schließlich zu sagen, daß ich den Titel Concert jedenfalls gerechtfertigt finde — für den Namen ‘Phantasie’ sind namentlich die beiden letzten Sätze zu sehr und regelmäßig ausgebaut. Die einzelnen Bestandtheile sind in ihrem Verhältnisse zu einander sehr schön und doch contrastirend genug; das ist die Hauptsache. Spohr nennt übrigens auch seine Gesangs-Scene ‘Concert’”! [20]
It is precisely this freedom — this ability to break free of the shadow of Beethoven and “großer Form” while resting on the authority of accepted models — that appealed to composers of a conservative bent and allowed the symphonic violin concerto, as a form of absolute music, to maintain a provisional hold on the public at a time when the symphony itself was in eclipse. As Joachim mentioned in his letter, Spohr provided an early example of unconventional form — a concerto in the form of an operatic scena. Mendelssohn’s concerto (1845), which influenced subsequent composers as late as Sibelius, is replete with formal innovations (the lack of opening tutti, the centrally-placed cadenza in the first movement, the unusual recapitulation in the first movement, etc.). Equally important, later composers also felt freer in the violin concerto to explore certain more lyrical or characteristic moods — moods that were congenial to the era, but that lay outside the aesthetic norms of the symphony, or were problematic if subjected to the formal processes expected in the symphony post-Beethoven. Thus, while characteristic symphonic works such as Goldmark’s Ländliche Hochzeit Symphony (1876) once enjoyed a protracted period of popularity, they are no longer frequently performed. Similarly conceived concerti such as Lalo’s Symphonie Espagnole or Bruch’s Schottische Fantasie, on the other hand, continue to be staples of the violinist’s repertoire.
Symphonic Violin Concerti in the 19th Century
1806 Beethoven Concerto in D major, op. 61 (Joachim)
1816 Spohr Concerto no. 8 in modo di scene cantante, op. 47 (Joachim)
1834 Berlioz Harold en Italie (performed by Joachim under Berlioz)
1844 Mendelssohn Concerto in E minor, op 64 (Joachim, 2nd performance)
1853 Schumann Concerto in D minor WoO 23 (withheld) (dedicated to Joachim)
1853 Schumann Fantasie op. 131 (dedicated to Joachim)
1857 Hiller Concerto in a A major, op. 152 (dedicated to Joachim)
1861 Joachim Concerto no. 2 in D minor, op. 11 Hungarian (Joachim)
1867 Bruch Concerto no. 1 in G minor, op. 26 (dedicated to Joachim)
1874 Lalo Symphonie Espagnole (written for Sarasate)
1875 Joachim Concerto no. 3 in G major, WoO (Joachim)
1876 Reinecke Concerto in G minor, op. 141 (dedicated to Joachim)
1877 Damrosch Concerto in D minor WoO (dedicated to Joachim)
1877 Dvořák Romanze in F minor, op. 11 (dedicated to Ondříček)
1877 Goldmark Concerto in A minor, op. 28 (Lauterbach)
1878 Brahms Concerto in D major, op. 77 (dedicated to Joachim)
1878 Bruch Concerto no. 2 in D minor, op. 44 (dedicated to Sarasate)
1878 Chaikovsky Concerto in D major, op. 35 (dedicated to Brodsky/ Auer/ Halíř)
1879 Dvořák Concerto in A minor, op. 53 (B. 108) (dedicated to Joachim/ Ondříček)
1880 Bruch Schottische Fantasie, op. 46 (dedicated to Sarasate)
1880 Niels Gade Concerto in D minor, op. 56 (dedicated to Joachim)
1880 Saint-Saëns Concerto in B minor, op. 61 (dedicated to Sarasate)
[Names in parentheses indicate that the works were either written by, dedicated to, premiered by, or predominantly championed by those players.]
The foregoing table demonstrates the dominance that Joachim had over the whole genre of symphonic violin concerti in the 19th century, approached only, from the 1870s onward, by Pablo de Sarasate. Even Beethoven’s concerto would have sunk into obscurity, had not the young Joachim revived and championed it. Joachim learned Mendelssohn’s concerto from its composer — he was the second violinist to play it, contemporaneous with David. He also played Harold in Italy under the composer’s baton, whereas Paganini, who commissioned the work from Berlioz, never played it, claiming the viola part was lacking in virtuosity, and insufficiently prominent. The works of Schumann and Spohr likewise belonged to Joachim’s repertoire. It is telling that Joachim never played the concerti of Ernst, Wieniawski or Vieuxtemps, although he was friendly with their creators, and valued them highly both as violinists and as men. Though he was a great virtuoso, Joachim eschewed violinistic fireworks. More than any other 19th century violinist, he was responsible for promoting the violin concerto as a “serious” form — in the sense of the Leipziger res severa — that, in its expressive possibilities, could stand comparison with the symphony.
Reinecke’s concerto reflects his sympathy with Joachim’s project: he worked within the traditions of the symphonic concerto, anticipating and advancing the revival of the genre. Viewing this table, one might argue that Reinecke’s concerto, far from being “reactionary,” was a harbinger, not only of a zweites Zeitalter of symphonic violin concerti, but of a goldenes Zeitalter. The subsequent four years alone saw the appearance of the canonical concerti of Goldmark, Brahms, Tchaikovsky, Dvořák, Bruch (Schottische Fantasie), and Saint-Saëns.
The third movement of the work will serve briefly as an example of Reinecke’s poetic, anti-virtuosic conception, expressed with the innovative freedom of form that is characteristic of the 19th-century symphonic violin concerto, generally. The entire concerto is strongly reminiscent in tonality, mood, and theme of Bruch’s popular Concerto no. 1 in G minor, and, like the Bruch, it seems to glory in its elegiac slow movement as its real reason for being.
Instead of following that movement with the customary light, brilliant rondo finale, Reinecke has given us an expressive movement of a lyrical, cantabile, character — a series of developing variations, closely related to, and at times recapitulating, the theme of the slow movement. Of it, a contemporary critic wrote that “der Finalsatz viel zu weitschichtig angelegt und mit zu wenig Rücksicht auf klar übersichtliche Gliederung seiner Theile ausgeführt ist.” [21] This seems a mis-hearing of the work, however, for the movement can be understood as a rather traditional sonata-rondo form (or what might better be described with James Hepokoski’s term: a “sonata-rondo deformation”), as this analytical diagram shows:
A short transition, such as one finds in Beethoven or Mendelsson, introduces the movement. The main theme, a broad amabile, demonstrates the double stop technique for which Joachim was famous in his time. It is difficult to play, but not virtuosic in character. The recursive nature of the theme creates a somewhat too-static impression at the start of a movement that is conceived in a similarly recursive form. The “A” theme alternates with a contrasting, arpeggiated, “B” theme, the character of which is strongly reminiscent of Schumann. The “C” group can be heard as a variation or development of the “A” theme — further contributing to the recursive nature of the movement.
An interesting feature of the movement is the presence of two dramatic, symmetrically placed D major scales that function as audible orientation points within the overall structure. Symmetric, as well, are two short, rather brilliant developments: one in double stops, and the other in triplets. The most interesting feature of the movement, however, is the threefold return of the main theme from the second movement — each time varied and ornamented — first in E, then in F, and finally in the tonic G major. These tonally progressive “reminiscences,” which function as interruptions (or “deformations”) of the Rondo, emphasize the familial relationship between the last movement “A” and “C” themes, and the main theme “X” of the lyrical slow movement. Thus, the entire third movement can be understood as a continuation, or development, of the second movement. The deformation of the standard sonata-rondo form through lyrical reminiscences serves an expressive purpose that carries the piece far from mechanical, “empty,” virtuosity into the world of Schumannesque poetry.
According to Joseph von Wasielewski, Reinecke’s Violin Concerto deserves, “in musikalisch künstlerischer Hinsicht unstreitig ein hervorragender Platz in der Geigenliteratur, wenn auch die Principalstimme nicht mit bestechender Brillanz ausgestattet ist. Reinecke hat es sich offenbar angelegen sein lassen, mehr die solide Seite als die virtuosenmäßige Bravour des Geigenspieles hervorzukehren.” Wasielewski hints at the work’s fatal weakness — as well as, potentially, its most ingratiating attribute — when he continues: “Wer das Werk von diesem Gesichtspunkt aus betrachtet wird seine Freude daran haben.” [22] In any case, Reinecke’s violin concerto is an attractive work that despite, or perhaps even because of, its previous neglect would provide a welcome alternative in the violinist’s repertoire to Bruch’s all-too-frequently performed masterpiece. It also provides a valuable insight into the musical friendship between two important 19th-century performer/composers and their relationship to aesthetic trends in European symphonic music at a critical point in its development.
© Robert W. Eshbach, 2014
[1] Recorded at the Grosser Saal, Kultur-Casino Bern, Johannes Moesus, conductor, 09/23/2004 and 09/24/2004; released 04/24/2007 on the CPO label, no. 777 105-2, ISBN 761203710522.
[2] Reinecke: “David hatte das Werk übrigens eigenmächtig in solcher Weise zugestutzt, daß ich förmlich erschrak, als ich die Partitur später zurückerhielt. Es war eine Schwäche von David, daß er alles für seine, vielleicht etwas eigenseitige Technik umarbeitete und sich auch anderweitige Eingriffe in die Komposition anderer erlaubte.” Carl Reinecke, Erlebnisse und Bekenntnisse, Doris Mundus (ed.), Leipzig 2005, p. 102.
A review of the October 3 concert appeared in the Wiener Zeitung, October 14, 1858: “Aus dem am 3. d. M. stattgefundenen ersten unserer ‘großen Konzerte’ nenne ich als besonders bemerkenswerth die Solovorträge unseres Konzertmeisters Ferdinand David. Derselbe führte uns ein neues noch im Manuskript vorliegendes Violinkonzert von dem talentvollen jungen Tonsetzer Karl Reinecke und den bekannten Tartinischen Teufelstriller vor, das Erstere eine in der That anmuthende Novität von solider Arbeit.”
[3] Johannes Joachim and Andreas Moser (eds.), Briefe von und an Joseph Joachim (2/3), Berlin 1912, pp. 1-2.
[4] Signale für die musikalische Welt, vol. 35, no. 3 (January 1877) p. 35.
[5] Musikalisches Wochenblatt, vol. 8, no. 2 (5 January 1877), p. 21.
[6] Kiel, 24 June 1878. Vide: Signale für die musikalische Welt, vol. 36, no. 43 (September 1878), p. 681.
[7] — Reinecke, Erlebnisse und Bekenntnisse, p. 260.
[8] — ibid., p. 25.
[9] Though this bias, on Joachim’s part, may have been as much an image as a reality. His wife, Amalie, claimed in a letter: “Unparteiische Richter welche genug von Violine verstünden müßten ihm auch als Techniker die erste Stelle zuweisen. Ich habe oft genug ihn, seine Art einzelne Stellen zu spielen mit der Art Sarasate’s u. Anderer vergleichen können u. stets gefunden, daß er alles größer, kühner u. feuriger vorträgt — auch ‘Virtuosenstückchen’ kühner u. eleganter spielt, als die andern, wenn er dies freilich nur für sich allein in seinem Studierzimmer vollbringt — weil er öffentlich sich nur als Priester des Allerschönsten u. Höchsten zeigen will.” [Beatrix Borchard, Stimme und Geige: Amalie und Joseph Joachim, Biographie und Interpretationsgeschichte, Wien 2005, p. 502.]
[10] — Reinecke, op. cit., p. 261.
[11] — ibid., pp. 261-262.
[12] Public Opinion, vol. 20, no. 16 (16 April 1896), p. 500.
[13] Hans von Bülow, for example, never performed a Mozart concerto in public. [Hans-Joachim Hinrichsen, Musikalische Interpretation Hans von Bülow, Stuttgart 1999, p. 24.]
[14] Emil Michelmann, Agathe von Siebold: Johannes Brahms’ Jugendliebe, Göttingen 1929, p. 318.
[15] Unpublished letter, private collection.
[16] Eduard Hanslick. Sämtliche Schriften. Historisch-kritische Ausgabe, Dietmar Strauß (ed.), Band I, 4: Aufsätze und Rezensionen 1857-1858, Wien 2002, pp. 359-360.
[17] I use this term in a somewhat freer manner than is customary.
[18] Carl Dahlhaus, Die Musik des 19. Jahrhunderts, in: Neues Handbuch der Musikwissenschaft, C. Dahlhaus (ed.), vol. 6, Wiesbaden 1980, p. 220.
[19] Vide Kongreßbericht: Probleme der Symphonischen Tradition im 19. Jahrhundert, Siegfried Kross (ed.), Tutzing 1990.
[20] — Joachim and Moser (eds.), Briefe von und an Joseph Joachim (2/3), p. 393.
[21] Musikalisches Wochenblatt, vol. 8, no. 2 (5 January 1877), p. 21.
[22] Wilhelm Joseph von Wasielewski, Carl Reinecke. Sein Leben, Wirken und Schaffen, Leipzig n.d., p.85.
10 Monday Nov 2014
Posted in Obituaries
Le Ménestrel, Vol. 73, No. 34 (August 24, 1907), p. 267-268.
N. B.: Obituaries are posted for historical interest only, and should not be taken as sources of accurate biographical information.
JOSEPH JOACHIM
__________
Un beau soir d’été de 1843, quelques personnes se trouvaient réunies dans le salon de Mendelssohn, à Leipzig. Schumann, hanté déjà par les visions au milieu desquelles devait, dix ans plus tard, s’égarer sa raison, avait ouvert une fenêtre et laissait son âme et ses regards flotter dans l’espace, comme bien loin de la terre. Mendelssohn s’était mis au piano, jouant avec un tout jeune violoniste la sonate à Kreutzer. Après le dernier accord de œuvre sublime, un silence profond se fit: les interprètes restaient immobiles; une voix seule s’éleva: “Oui, il doit y avoir des êtres dans le ciel, pour comprendre de quelle admirable manière vient de jouer Mendelssohn avec cet enfant.” L’enfant venait d’avoir douze ans, il s’appelait Joseph Joachim.
Hongrois de naissance, ses premiers pas dans la carrière remontaient à cinq ans déjà, car son professeur Szervacsinsky l’avait produit a ses côtés dans un duo, dés 1838, au théâtre de Budapest. L’année suivante marqua le début d’une période d’études méthodiquement conduites au Conservatoire de Vienne, dans la classe de Bœhm. Quand elles furent jugées complètes, Joachim se rendit à Leipzig, ou il se fit entendre, d’abord sans un concert donné par Mme Viardot-Garcia, ensuite au Gewandhaus, dans un quadruple concerto de Maurer. Ses partenaires étaient Bazzini, Ernst et Ernest David [sic]. Un an après, en 1844, sur la recommandation de Mendelssohn, il trouva des appuis à Londres, y obtint de grands succès et y retourna en 1847 eth en 1849. Il prit dès lors l’engagement d’y revenir chaque année. Il n’y manqua jamais par sa faute.
Appelé à Weimar par Liszt, avec le titre de maitre des concerts de la chapelle grand-ducale, Joachim y resta cinq années sans souhaiter s’y fixer définitivement. Les idées nouvelles dont cette petite capitale devenait le foyer s’accordaient mal avec ses tendances restées toujours classiques malgré l’attrait qu’exerça sur lui la musique de Schumann. Il accepta en 1853 le poste de directeur des concerts à Hanovre et lutta toute sa vie pour Brahms contre Wagner, sans tomber toutefois dans les excès d’une ardente polémique. Il existe pourtant une protestation curieuse signée de Joachim, Brahms, Otto Grimm et Scholz. Envoyé par lui, Brahms vint visiter Schumann à Dusseldorf pendant l’automne de 1853. C’est alors que parut le fameux article les Nouvelles Voies, dont on a tant parlé. Schumann attendait Joachim avec une sorte d’allégresse; il composa pour lui, en collaboration, un finale de sonate et inscrivit sur le frontispice: “En prévision de l’arrivée de notre bien-aimé et honoré ami Joseph Joachim, cette sonate a été écrite par Robert Schumann, Albert Dietrich et Johannes Brahms.” Le manuscrit appartenait à Joachim.
Après l’annexion du royaume de Hanovre à la Prusse (1866), Joachim s’établit à Berlin avec la cantatrice Amélie Schneeweiss, qu’il avait épousée trois ans auparavant, et de laquelle il se sépara en 1882. I devint directeur de la nouvelle École royale supérieure de musique, et, après une réorganisation de cette institution, reçut le titre de président du comité directeur. Après la fondation de la Société philharmonique de Berlin (1881-82), Franz Wüllner et ensuite Klindworth, concurremment avec Joachim, en devinrent chefs d’orchestre. Excellent musicien, Joachim ne pouvait être médiocre en rien; cependant il n’avait pas ce que l’ou pourrait appeler la “vision intellectuelle” des œuvres et se bornait à donner des interprétations impeccablement pures de ligne. C’est beaucoup sans doute, et pourtant cela ne suffit jamais à lui assurer, comme chef d’orchestre, un prestige indiscutable. Son véritable domaine était le quatuor. Avec de Ahna et Kruse, remplacés en 1897 par M. Halir, et MM. E. Wirth et R. Haussmann, Joachim a donné de splendides auditions des quatuors d’Haydn, de Mozart, de Schumann, de Brahms et surtout de ceux de Beethoven.
Ce grand artiste est venu assez rarement à Paris, sauf au cours de ces toutes dernières années; mais pendant les apparitions qu’il fit dans cette ville en 1886 et 1887, partout ou on l’entendit, au Châtelet, salle Erard, dans plusieurs réunions privées et notamment chez son ami Lèonard ou il se retrouvait avec Mme Viardot, son jeu personnel et l’admirable cohésion de son quatuor excitèrent l’enthousiasme. Il joua les concertos de Beethoven et de Mendelssohn, la Fantaisie, op. 131, de Schumann, les Danses hongroises de Brahms, des pièces de Bach, ses Variations pour violon et orchestre, et beaucoup de musique de chambre.
Ses Variations, disons-nous! Oui, car il éprouva parfois le désir de fixer au moyen des notes quelques-unes de ses pensées ou de ses impressions. Il a laissé trois concertos, un Andantino e Allegro avec orchestre, un Nocturne avec orchestre, des morceaux avec piano, des ouvertures, Hamlet, Demetrius, A la mémoire de Kleist, etc. Sa musique, peu originale, rappelle beaucoup celle de Schumann. Sous le titre Ecole du Violon, Joachim a publié, en collaboration avec M. Adreas [sic] Moser, les trois premiers volumes d’une vaste collection d’œuvres de maitres avec remarques critiques, cadences, doigtes, etc. C’est la le dernier travail dont il se soit occupé.
Joachim conserva toute sa vie le culte de Schumann. Il fut naturellement appelé à prendre part à deux grandes fêtes commémoratives, qui eurent lieu à Bonn, la première en 1873, la seconde en 1906, en l’honneur du maitre. Pendant cette dernière, ayant a prononcer quelques
p. 268
mots sur la tombe bien connue du Sternenthor, il évoqua ce touchant souvenir: “Schumann et Clara vinrent a Hannovre et je voulus leur ménager quelques joies musicales. Nous jouàmes pour eux des quatuors et il était tout simple que je choisisse à cet effet l’un de ceux que j’aimais avec prédilection, celui en fa mineur de Beethoven. Après l’avoir exécuté, je voulus mettre sur les pupitres les parties de l’un des plus beaux ouvrages de Schumann en ce genre, mais il appuya sa main sur moi de la façon cordiale qui lui était habituelle, et ses yeux se tournant vers les miens avec une admirable expression dans les regards, il me dit: Non, après le quatuor que nous renons d’entendre, il ne faut pas jouer celui-ci.”
05 Wednesday Nov 2014
Posted in Speeches and Utterances (Joachim)
Edward John Payne, “Stradivari,” in: George Grove, A Dictionary of Music and Musicians, J. A. Fuller Maitland (ed.), Vol. 3, New York: Macmillan, 1898, p. 733.
Joseph Joachim on Stradivari’s Violins
Dr. Joachim, after perusing the proofs of this article, has most kindly communicated to the writer, to be incorporated with it, a few words on the tone of Stradivari’s violins. He considers them as mines of musical sound, which the player must dig into, as it were, in order to develope their treasures, and attributes to them a peculiar responsiveness, enabling the earnest player to place himself completely en rapport with his instrument — a relation which, as Dr. Joachim’s audiences are well aware, is with him no matter of fancy, but a fact. After some preliminary observations, he continues: ‘While the violins of Maggini are remarkable for volume of tone, and those of Amati for liquidity, none of the celebrated masters exhibit the union of sweetness and power in so preeminent a degree as Giuseppe Guarnieri (del Gesù) and Antonio Stradivari. If I am to give expression to my individual feeling, I must pronounce for the latter as my chosen favourite. It is true that in brilliancy and clearness, and even in liquidity, Guarnieri in his best instruments is not surpassed by him: but what appears to me peculiar to the tone of Stradivari is a more unlimited capacity for expressing the most varied accents of feeling.[1] It seems to well forth like a spring, and to be capable of infinite modification under the bow. Stradivari’s violins, affording a strong resistance to the bow, when resistance is desired, and yet responding to its lightest breath, emphatically require that the player’s ear shall patiently listen until it catches the secret of drawing out their tone. Their beauty of tone is not so easily reached as in the case of many other makers. Their vibrations increase in warmth, the more the player, discovering their richness and variety, seeks from the instrument a sympathetic echo of his own emotions: so much so that they seem to be living beings, and become as it were the player’s personal familiars — as if Stradivari had breathed a soul into them, in a manner achieved by no other master. It is this which stamps them as creations of an artistic mind, as positive works of art.
[1] ‘Gefühls-accents.’ Dr. Joachim uses the term in the technical sense, signifying that peculiar touch and pressure of the bow and finger which the character of the music requires. Baillot enumerates no less than thirty different ‘accents,’ which he divides into four classes: 1. The simple and naïve; 2. The vague and indecisive; 3. the passionate and dramatic; 4. the calm and religious. It is an interesting confirmation of Dr. Joachim’s opinion that Paganini’s Joseph Guarnerius violin is fitted with a very light bridge, having no ‘heart’ or central hole, and extremely small and slender feet. This great player evidently found it impossible to obtain the requisite delicacy of tone in this instrument with an ordinary bridge, and therefore had to sacrifice power to expression.
04 Tuesday Nov 2014
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N. B.: The following partial listing of Joseph Joachim’s students is based originally upon a list given in Andreas Moser’s Joseph Joachim. A Biography, London: Philip Wellby, 1901, pp. 242-244 [M], as well as information given in Wilhelm Joseph von Wasielewski’s Die Violine und ihre Meister, Leipzig: Breitkopf & Härtel, 1904 [W], and profiles from Musik und Gender im Internet. [MUGI]. Names marked [P] come from Dr Sanna Pederson’s blog Chamber Music in Berlin, 1870-1910: An Empire for Absolute Music , and names marked [KJ] have been garnered from the program of Joachim’s “60-jährigen Künstler-Jubliäum,” Berlin, 22 April 1899, for which the orchestra strings were drawn “exclusively from current or former students of the honoree, as well as participants in his quartet classes.” Other names have been culled from diverse sources. The Saerchinger/WHO’S WHO articles, while interesting and helpful, are not 100% accurate, particularly as regards birth dates. Where possible, I have provided correct dates and sources. This list is in the process of verification and elaboration, and is subject to recurring emendation. At this point, I do not completely vouch for its accuracy.
Finally, it should be noted that Joachim very seldom gave private lessons, preferring to teach in masterclass format; he also made extensive use of teaching assistants, who were responsible for most of the students’ technical training.
Ackroyd, W. [KJ] Stud. a. d. Kgl. Hochsch. f. Mus. Berlin. Links: KJ
Arbós, Enrique Frenández (*December 24, 1863 — †June 2, 1939) [M] Links: M
Violinist and conductor. Studied with Monasterio in Madrid, Vieuxtemps in Brussels, and Joachim in Berlin. 1894-1915 Professor of Violin at Royal College of Music (London). Conductor, Madrid Symphony Orchestra. 1932 conducted first Spanish performance of Stravinsky’s Sacre du Printemps. [ and . “Arbós, Enrique Fernández.” Grove Music Online. Oxford Music Online. Oxford University Press, accessed November 29, 2014.]. Saerchinger/WHO’S WHO (1918) gives his birth date as December 25.
Auer, Leopold (Lipot) (*June 7, 1845 — †July 15, 1930)
From 1853, studied at Budapest Conservatory with Ridley Kohne; 1855 Vienna Conservatory with Dont and Hellmesberger (Diploma 1858); with Joachim in Hanover 1863-65. 1863 Concertmaster in Düsseldorf; 1866 in Hamburg. 1868 followed Wieniawski as professor the St. Petersburg Conservatory. Solo violinist, concertmaster and and chamber musician. 1911 moved to Dresden; 1914 returned to St. Petersburg. 1917 moved to Oslo, and 1918 to New York. Teacher of Achron, Elman, Milstein, Heifetz, Seidel and Zimbalist. Author (Graded Course of Violin Playing, Violin Playing as I Teach It, My Long Life in Music), editor.
Bandler, Heinrich (*November 19, 1870 — †1931) [KJ] [M] Concertmaster, Hamburg. Links: Mitteilungen, KJ
Graduated from Prague Conservatory, 1889. Studied with Joachim until 1896. Played in a quartet with Gustav Holländer, and taught at the Stern Conservatory in Berlin. Subsequently First Concertmaster of the Hamburg Philharmonic Orchestra. Also a distinguished violist.
Bargheer, (Gustav) Adolf (*October 21, 1840 — †March 10, 1901) [KJ] Concertmaster, Basel. Links: KJ, BW
Brother of Carl Louis B. Pupil of Spohr and Joachim. Court musician in Detmold (1859-61), and Münster (1861-66). From 1866 until his death concertmaster and professor of music in Basel.
Bargheer, Carl Louis (*December 31, 1831 — †May 19, 1902) Possible student of Joachim — may be mistaken for his brother. Links: BW, FL, WIKI Portrait: Hoyer, Göttingen, ca. 1855
Brother of Adolf B. Studies with Spohr (1849), David (1851), and possibly Joachim (in Hanover). Kapellmeister in Detmold from 1863-76. 1876-88 concertmaster in Hamburg; 1876-87 teacher at the Hamburg Conservatorium.
Bargiel, Waldemar (*October 3, 1828 — †February 23, 1897) 
Barmas, Issay (*1872 — †1946) [KJ] Links: EJ, KJ Photo credit: Goethe Universität
Issay Barmas, “violinist and teacher. Born in Odessa, Barmas studied with I. Grzimali in Moscow and with J. Joachim in Berlin. He made his debut as a soloist in Berlin in 1899 and toured Europe. He also formed his own quartet in 1919. From 1900 to 1929 he taught in Berlin (Stern Conservatoire, 1900–05; Klindworth-Scharwenka Conservatoire, 1905–29) and later moved to London. Among his publications are Die Lösung des geigentechnischen Problems (1913), Tonleiter-Spezialstudien, Doppelgriff-Spezialstudien, redactions, and editions of classical works.” [“Barmas, Issay.” Encyclopaedia Judaica. 2007. Encyclopedia.com. (November 17, 2014)].
Barth, Richard (*June 5, 1850 — †December 25, 1923) [W] [KJ] Links: BMLO, KJ, W
(Left-handed) violinist, composer, educator. Studied with Joachim in Hanover, 1863-67. Concertmaster in Münster and Krefeld. 1887-94 Director of Music at the Marburg University. 1895 Director of the Philharmonic concerts and the Singakademie in Hamburg; 1908 Director of the Hamburg Konservatorium. Author: Johannes Brahms und seine Musik (1904); Johannes Brahms im Briefwechsel mit J.O. Grimm (1908). Ref: Saerchinger/WHO’S WHO
Bauerkeller, Rudolph (*May 23, 1879 — †) [KJ] Stud. a. d. Kgl. Hochsch. f. Mus. Berlin. Links: KJ Ref: Saerchinger/WHO’S WHO
His father was a first violinist in the Hallé Orchestra in Manchester, England. Studied at Paris Conservatory, and Berlin Hochschule with Joachim and Wirth.
(Saerchinger/WHO’S WHO, 1918)
Manchester Courier and Lancashire General Advertiser, April 11, 1902: “… a very interesting concert… The solos were all chosen with taste, and were not made the vehicle for a vain-glorious display of technique. A Prelude and Fugue in G minor by Bach, Tartini’s celebrated “Devil’s trill” Sonata, and an Introduction and Rondo Capriccioso by Saint-Saens were the works in which Mr. Bauerkeller displayed his highly-cultivated style, and a breadth and purity of tone, such as might be looked for in a pupil of Joachim.”
Baumann, Joseph W (*October 29, 1847 — †April 3, 1905) Ref: CE
“Joseph W. Baumann. Violinist, teacher, b Berlin (Kitchener), Ont, 29 Oct 1847, d Hamilton, Ont, 3 Apr 1905. He was self-taught until at 21 he departed for Vienna to study with Adolf Brodsky. Two years later he went to Berlin for private study with Joseph Joachim. Returning to Canada, he taught in a succession of Ontario towns – Walkerton, Berlin, Toronto – before settling in Hamilton in 1882. About 1888 he appeared frequently in recital with the pianist D.J. O’Brien, founder of the Hamilton Musical Institute (see Royal Hamilton College of Music). Baumann’s playing was noted for its full tone and robust technique, both of which were imparted to his pupils, including George Fox and Nora Clench.” (Canadian Encyclopedia, CE)
Becker, Dora Valesca (*1870 — †1958) [M] (The first female violinist on record: 1898) Recording, Links: M
(Saerchinger/WHO’S WHO, 1918)
Becker-Samolewska, Bianca (* — †1925) [MUGI] Links: MUGI
Beel, Sigmund (*March 13, 1863 — †April 8, 1953) [M] Links: PCMR, Doring, Hill, Who’s Who, OAC, SFC, M
Born in Oakland CA, Sigmund Beel was concertmaster in Los Angeles.
(Saerchinger/WHO’S WHO, 1918)
Békei (Békey), Józsa A Hegedü, p. 275.
Belcher, Carolyn (*April 4, 1877 — †September 30, 1920) Links: ETUDE
The Carolyn Belcher Quartet (Carolyn Belcher and Anna Eichhorn, violins, Sara Corbett, viola, and Charlotte White, cello) was resident in Boston. Ref: CB
Besserer, Erika (*July 31, 1887 — †February 7, 1951) [MUGI] Links: MUGI
Studied with Joachim beginning in 1901.
Bild, Max (*March 2, 1869 — †September 5, 1942) [M] [KJ] Tonkünstler. Paris. Links: KJ, M
Birnbaum, Amalie (Amalie Radwaner, or Amalie Radwaner-Birnbaum) (*August 24, 1879 — †?) [KJ] [MUGI] Links: KJ, MUGI
Birnbaum, Alexander Zózislaw (*February 26, 1878 — †September, 1921) [KJ] Tonkünstler. Berlin. Links: KJ, MN ,MC
“A new conductor, Mr. Alexander Z Birnbaum, a native of Warsaw, who directs the Philharmonic Orchestras at Lausanne and Geneva, also made his first appearance in that rôle in London, taking charge of our Queen’s Hall Orchestra […] Mr. Birnbaum is a conductor who employs almost a super-abundance of gesture, and never spares himself in the matter of energy. At the same time, he is one who carries his forces along with him, and admirably the bandsmen answered to his virile beat.” Musical News (London: July-December, 1907), 33:3.
“Still another former Joachim pupil Zózislaw Alex. Birnbaum played recently. He made his début last winter, and since then he has studied with Ysaye. Birnbaum has a glowing temperament, such as I have never seen in a Hochschule pupil before. He has, too, a great technical talent and a beautiful sensuous tone. Unfortunately his temperament runs away with him. He hurries the tempi, and his technic is in consequence often faulty. He is flighty, but he has the genuine violin nature and always arouses his audience to demonstrative applause.” The Musical Courier (New York: January 10, 1900), 13.
Blancke, Georg Heinrich Adolf (*June 24, 1862 — † June 15, 1937) [KJ] Mitglied des Philharm. Orchesters. Berlin. Links: KJ
Blankensee, Julius (*April 4, 1858 — †November 3, 1941) [M] [W] Studied 1873-77 (W) Links: BMLO, M, W
Bleuer, Ludwig (*1863 — †1897) [M] Links: Baker’s, M
Bligh, Eldina (*Geneva 1867 — †March 5, 1953)
Mus. ed. at Brussels Cons., and the Berlin Hochschule; stud with Joachim. London debut at St. James’ Hall. Appeared by Royal command before Queen Victoria in Dublin. Ref: Saerchinger/WHO’S WHO
Bögner, Eugen (Eugene Boegner) (*March 3, 1870 — †March 23, 1947) [M] Links: STOK, M
Borchardt, Emma, [M] Berlin. Links: M
Borisch, Franz [KJ] (Cellist) (*March 16, 1879 — †) Mitglied der Königlichen Kapelle. Berlin. Links: KJ
Briggs, Christopher Rawdon (*October 8, 1869 — †December 20, 1948) [KJ] Tonkünstler. Manchester. Links: KJ
Bright, Esther (*1868 — †1957) Studied 1886-1887.
Brockmann, (Miss) J. [KJ] Tonkünstlerin. Dresden. Links: KJ
Brode, Max (*February 25, 1850 — †December 29, 1917) [M] [KJ] Professor, Concertmaster, Königsberg. Links: KJ, KO, M
Broen, Elli von (Elli Stietzel-von Broen) (*January 29, 1879 — †after 1929) [MUGI] Links: MUGI
Studied with Rudolf Rösel in Weimar, Hans Rosenmeyer in Erfurt. 1898 at Berlin Hochschule: two years with Emanuel Wirth. 1900-1901 with Joachim, Wirth, and Moser, and 1901-1902 with Joachim and Gabriele Wietrowetz. Second violinist with the Erfurter Tonkünstlerquartett. After her marriage to the architect W. Stietzel, mostly active as a teacher.
Brun, Alphonse (*1888 — †1963) [M] [KJ] Concertmaster, Zürich. Links: BMLO, KJ, M
Buesst, Aylmer (*January 28, 1883 — †January 25, 1970) Links: OS, ANA, AHRC
Burgin, Richard (*October 11, 1892 — †April 29, 1981) Studied 1906. Concertmaster, Boston Symphony Orchestra. Links: BURGIN
Burmester, Willy (Carl Adolph Wilhelm) (*March 16, 1869 — †January 16, 1933) [DB] Links: DB, MUSIC 
Studied with Joachim at the Berlin Hochschule 1881-1885.
Butler, Herbert Dalton (*February 2, 1873 — †October 6, 1946) [KJ] Links: ETUDE, KJ, MB, MUSIC
Analysis of Tartini’s G minor Sonata. Stud. a. d. Kgl. Hochsch. f. Mus. Berlin. From Omaha, Nebraska. Also studied with Gustav Hollaender at the Stern’sche Konservatorium der Musik. Extensive web-page by James Radomsky, Professor of Music History, California State University San Bernardino here.
Cardew, Mary (*September 9, 1866 — †June 21, 1918) Studied 1885-1887 [P] Links: AT, STRAD
Chew, Otie (Otie Becker; Otie Chew Becker) (*December 2, 1880 — †January 22, 1953) [MUGI] Links: MUGI, MM 
Studied with Richard Gompertz and Emile Sauret at the RAM (London), and with Gabriele Wietrowetz and Joseph Joachim at the Berlin Hochschule. Solos with Berlin Philharmonic, Richter Concerts in London, New York Philharmonic. Daughter of an English clergyman; after her marriage, she settled in Los Angeles, where she was active as a teacher. Soloist with Berlin Philharmonic 1903, 1905. [P]
Clark, Margaret Eleanor [KJ] Links: KJ, FF
“Margaret Eleanor was born 19 October 1874 in Nottingham [England]. She is living with her parents, William and Charlotte, in the 1881 and 1891 censuses. She attended Nottingham High School from 1886 to 1891, specialising in music and the violin. After leaving high school she attended the Berlin Conservatoire from September 1892 a became an accomplished violinist. In 1901 she is a Teacher of Violin in Middlesbrough. There is a marriage for Margaret Eleanor Clark in Nottingham in Jun 1906 (7b/647) to Henry Stanley PROUDLOCK. In 1911, the family are living in Castleton, Yorkshire, a small village on the banks of the Esk River, and inland from Whitby. Henry’s occupation was consulting mechanical engineer. He probably found work at the numerous quarries and mines in the district. In 1911, Margaret is recorded as a violinist. They had one daughter, Margaret Ursula, aged 5.5 months. There is also a birth recorded for John PROUDLOCK in Newcastle on Tyne in Dec 1916, mother’s maiden name CLARK.”
Nora Clench [P]
Clench, Nora (*1867 — †1938) [M] [MUGI] Studied 1894-1895. Links: MUGI, Canadian Encyclopedia, Image, M, [P]
Coith, E. [KJ] Königlicher Kammer-Musiker. Dresden. Links: KJ
Cook, Will Marion (*January 27, 1869 — †July 19, 1944)
Studied with Joachim at the Berlin Hochschule, 1889 [Grove Music Online]
Coryn, Corrinne (*1876 — †?) [KJ] Links: KJ, MUGI
“Corinne Coryn, violinist, played Bach’s A major sonata and the Joachim variations. She plays with great earnestness of purpose and with exceeding care, and has a neat technic and a pretty, smooth tone. She is a little lacking in temperament, and quite so in individuality of style, but there is plenty of time for improvement in these respects, Miss Coryn being apparently still very young, and there is considerable promise for higher attainments in the future.” [The Musical Courier, Vol. 54, No. 2 (January 9, 1907), p. 6.]
“Eine reife Künstlerin in Bezug auf Auffassung ist Fräulein Corinne Coryn; sie schöpfte den geistigen Gehalt des Brahmsschen Konzerts und der Bachschen Ciacona voll aus. Wenn ihr bei Brahms technisch manches, so namentlich die Oktaven, nicht gelang, so lag dies wohl mehr an ihrer Befangenheit, als an nicht gefestigter Technik; ihr prächtiger warmer Ton kam besonders im Adagio des D-moll-Konzerts von Vieuxtemps zu schönster Geltung. Wir dürfen noch viel von ihr erwarten.” [Die Musik, I Februarheft 1902, p. 833.]
Courvoisier, Karl (*1846 — †1908) [M] Studied 1869-70 (Baker’s). Links: BMLO, Baker’s, M, Worldcat 
(Saerchinger/WHO’S WHO, 1918)
Croner, Helene (*February 27, 1885 — † after 1943) [MUGI] Links: MUGI
Violinist and violist. Studied 1902-1906 with Markees and Joachim at the Berlin Hochschule. In June, 1943, Helene Croner was deported from Berlin to Auschwitz, where she was murdered. [MUGI]
Curci, Alberto (*1886 — †1973) Link
Czerwonky, Richard (*1886 — †1949)
Dannreuther, Gustav (*July 21, 1854 — †)
(Saerchinger/WHO’S WHO, 1918)
Davidson, Concertmaster, Danzig (Gdańsk). [M] Links: M
Deecke, H. [KJ] [M]Grossherzogl. Concertmeister. Karlsruhe. Links: KJ
Studied with Joachim in Hannover. [M]
Dessau, Bernhard (*March 1, 1861 — †April 28, 1923)
(Saerchinger/WHO’S WHO, 1918)
Bernhard Dessau plays Wieniawski Legende
Doesburg, Hendrik (*1863 — †1921)
Doret, Gustave (*September 20, 1866 — †)
(Saerchinger/WHO’S WHO, 1918)
Dornbrack, P[aul]. [KJ] Tonkünstler. Berlin. Links: KJ
Drews, Martha (Martha Drews-Loeb) (*1877 — †1965) [KJ] [MUGI] Links: KJ, MUGI
Duke, Curri [P] Studied 1889-1892
Duncan, M. [KJ] Stud. a. d. Königl. Hochsch. f. Mus. Berlin. Links: KJ
Egbert, William Grant (*December 28, 1867 (sic) — †December 9, 1928) Ref: Ithaca
(Saerchinger/WHO’S WHO, 1918)
Elderling, Bram (*1865 — †1943) [KJ] [M] Concertmaster, Meiningen. Links: BMLO, KJ, M
Ellenberger, Georg (George) [KJ] [M] Tonkünstler. Nottingham. Links: KJ, M
Violinist and violist, teacher of Eric Coates. Advertisement in Sheffield Daily Telegraph, December 13, 1902: “MR. GEORG ELLENBERGER (Solo Violinist), pupil of Dr. Joachim receives Pupils at Messrs. Wilson, Peck, and Co.’s where terms and particulars may be obtained.”
Elsmann, Adolf (*December 29, 1851 — †March 30, 1929) [KJ] Königlicher Kammer-Musiker. Dresden. Links: KJ, DJ, DJ2
Erdmann, Pálma von (née von Pászthory. See: Pászthory, Pálma von) [MUGI]
Ern, Henri (*January 20, 1863 — †) Ref: PB,
(Saerchinger/WHO’S WHO, 1918)
El Paso Evening Post, August 11, 1930, p. 1
Ernst, Alfred (*April 9, 1860 — †May 15, 1898)
Studied with Böhm in Vienna and later with Joachim. A proponent of the works of Wagner, he was the first music critic for La revue blanche, founded in 1891. [. “Ernst, Alfred.” Grove Music Online. Oxford Music Online. Oxford University Press, accessed November 29, 2014.]
Eyre, Phyllis [P] Studied 1903-1904
Exner, Gustav [KJ] [M] Kammervirtuos, Berlin. Links: KJ, M
Farkas, [M] Budapest. Links: M
Ferchland, Helene (*August 5, 1879 or 1880 — †) [KJ] [MUGI] Links: KJ, MUGI
Studied with Joachim in Berlin and Thibaud in Paris. 1905 recipient of the Felix Mendelssohn Bartholdy Scholarship. Solo with Berlin Philharmonic. Member (with Gertrud Schuster-Woldan and Eugenie Stoltz) of Gabriele Wietrowetz’s string quartet, to which she belonged until it disbanded in 1917. Joachim praised her playing as “secure, accomplished, and musically intelligent. Unusually talented…” [MUGI]
Finger, A. [KJ] Tonkünstler. Wien. Links: KJ
Fleischhauer, Friedhold (*July 24, 1834 — †December 11, 1896) [W] Links: BMLO, W
Student of Joachim in the early 1850s. Further studies with Ferdinand Laub. Member of Weimar Kapelle; 1860 Soloist in Aachen; 1864 until his death Hofkonzertmeister Meiningen.
Francke, H. [KJ] Concertmaster. Laussnitz b. Königsbrück. Links: KJ
Franko, Nahan (*July 23, 1861 — †)
(Saerchinger/WHO’S WHO, 1918)
Franko, Sam (*1857 — †1937) Studied 1876-78 (Baker’s). Links: Oxford, Baker’s 
(Saerchinger/WHO’S WHO, 1918)
French, Sybil [KJ] Tonkünstlerin. Tiverton. Studied 1896-1897 Links: [P], KJ, VT
Advertisement in Exeter and Plymouth Gazette, October 16, 1903: “VIOLIN LESSONS GIVEN BY Miss SIBYL FRENCH, PUPIL OF DR. JOACHIM, BERLIN. For Terms apply Mrs. SMITH, Music Warehouse, Queen-street, Exeter.”
Freund, M. [KJ] [M] Concertmaster, Berlin Philharmonic Orchestra. Links: KJ, M
Friedrich, A. [KJ] [M] London. Links: KJ, M
Gade, Axel, (*May 28, 1860 — †November 9, 1921) Copenhagen. [M] Links: IMSLP, M 
Son of Niels Wilhelm Gade. 1879-1881 studied at Royal Danish Conservatory with Valdemar Tofte. Further studies with Joachim. 1884 violinist with Det Kongelige Kapel; 1910 concertmaster. 1885 violin teacher at the conservatory. Composer of violin works, and several operas.
Gerhardt, Oskar (*1856 – 1929) [KJ] Mitgl. d. Philharm. Orch. Berlin. Links: KJ
Gerwing, Josephine (*February 7, 1882 — †after 1930) [MUGI] Links: MUGI
Studied with Hollaender, Kruse, Halir, and possibly Joachim. After studies between 1900 and 1907, she emigrated to the United States [MUGI].
Gesterkamp, Jan (*December 4, 1880 — †March 24, 1963) Second concertmaster, Berlin P. O. 1903-1911. Later, Hamburg Philharmonic. Links: Moser
Gibianski, M., [KJ] Stud. a. d. Kgl. Hochsch. f. Mus. Berlin. Links: KJ, M
Gleason, Alice Studied 1896-1897 [P] Links: ETUDE
Gompertz, Richard (*1859 – †1921) [KJ] [M] Links: IMSLP, KJ, M 
Studied with Joachim in Berlin, 1875-1878. Moved to England in 1880. First violinist with Cambridge SQ. 1883, taught at Royal College of Music, London; from 1895 Professor of Violin.
de Graan, Jean (*1852 — †1874), den Haag.
Manchester Courier and Lancashire General Advertiser, January 19, 1874: “Intelligence has just reached us of the death of this young Dutch violinist, a pupil of Joachim and known from his earliest days at Amsterdam as one of the most promising artistes in Europe. On his debut in London at the Musical Union, in 1870, he at once created a favourable impression, evincing a rare degree of musical intelligence and considerable executive power. During his visit to London he was the guest of Professor Ella, the director of the Musical Union, and won the esteem of many of our local professors and amateurs. After a lingering illness in Italy, he died last week, at the Hague, of consumption, at the age of 21.”
Gregorowitsch, Charles (Karol Gregorowicz) (*October 25, 1867 — †March 25, 1921) [M] [Groves] Berlin. Links: M, BI, Recording 
Studied with Vassily Bezekirsky, Jacob Dont, and Joachim, who said to Bezekirsky: “You have sent me a finished violinist. There is nothing to teach him.” 1886 Berlin debut. Recipient of Mendelssohn prize. Taught Bronislaw Hubermann, who claimed he taught him “everything that could be learned from a teacher.” [. “Gregorowicz, Karol.” Grove Music Online. Oxford Music Online. Oxford University Press, accessed December 10, 2014].
Grimson, R. [KJ] Lehrer am Royal College. London. Links: KJ
Gülzow, Adelbert (*1862 — †1933) [M] Kammervirtuose, Berlin. Links: M, Schroeder
Gumprecht, G. [KJ] Stud. a. d. Kgl. Hochsch. f. Mus. Berlin. Links: KJ
Hänflein, Georg (*March 17, 1848 — †ca. 1909) [KJ] [M] [W] Links: KJ, M, W
1862-65 studied with Ferdinand David; three years’ study with Joachim. Member of the Italian Opera in St. Petersburg. 1874 Concertmaster, Royal Theater Hanover.
Hagemeister, [M] Richard Kammermusiker, Berlin. Links: BMLO, M
Halíř, Karel (*February 1, 1859 — †December 21, 1909) [KJ] [M] Concertmaster, Professor, Hochschule für ausübende Tonkunst, Berlin. Links: BMLO, KJ, M
Studied with Joachim in Berlin, 1874-76.
Hamaker, May Studied 1894-1896 [P]
Hanicki, Tadeusz (*1850 — †?) [KJ] Concertmeister. Köln. EP, IMSLP, KJ
Havemann, Gustav (*March 15, 1882 — †January 2, 1960) Links: Getty, MH 
Violinist and conductor. Studied with Joachim at the Berlin Hochschule beginning 1898. After 1900 concertmaster in Lübeck; 1905 Hofkonzertmeister in Darmstadt and Hamburg. 1911 teacher at the Leipzig Konservatorium. 1915-1921 concertmaster of the Dresden Hofoper. 1920s, primarius of the Havemann String Quartet, noted for its performances of modern music. Author: “Was ein Geiger wissen muss“ (1921), “Die Violintechnik bis zur Vollendung.“ (1928) Havemann was a committed anti-Semite, and a member of the Nazi party. Eventually ran afoul of Goebbels and the Nazis over his support for Hindemith. Havemann’s 1719 Stradivari was, ‘acquired’ when the Russian army entered Berlin in 1945 and was passed to the state collection in 1946. The instrument was loaned to David Oistrakh in 1947, and he used it for several years.
Herner, Carl (*January 23, 1836 — †July 16, 1906) 
Educated at the Prague Conservatory, he gained his first experience in Hamburg, Kiel, and Copenhagen, and played solo violin in Brussels. He studied with Joachim in Hanover. On 1. February 1858 he became a member of the Hoftheaterorchester Hannover. Herner was a member (together with N.N. Bach and Waldemar Bargiel) of one of Joachim’s quartets that became very popular in the early 1860s. He worked as first violinist, Solo-Repititor, choir director, conductor, and finally as Kapellmeister until his retirement 1900. Herner worked 42 years in the Hanover orchestra. He composed 20 pieces for ballet, opera, choir and orchestra. [Thanks to Jürgen D. Müller of Hanover, Germany, for this information]
Hess, Willy (*July 14, 1859 — †February 17, 1939) [KJ] [M] Links: KJ, M, Oxford
Studied with his father, a pupil of Spohr. 1865 moved to USA, touring with the Theodore Thomas orchestra at the age of nine. 1876-78 studied with Joachim in Berlin. 1878-86 concertmaster in Frankfurt am Main; 1886-88 concertmaster in Rotterdam. 1888 sojourn in England; leader of Hallé Orchestra in Manchester. 1895 returned to Germany and became Professor of Violin at the Cologne Conservatorium. 1900 successor of Saurret at the Royal Academy of Music in London. 1904-1910 concertmaster of Boston Symphony Orchestra. 1910 returned to Berlin and taught at the Hochschule für Musik until 1928. [. “Hess, Willy (i).” Grove Music Online. Oxford Music Online. Oxford University Press, accessed November 27, 2014.]
Hesselberg, (Miss) R [KJ] Links: KJ
Hille, Gustav (*1849 or 1851 — †after 1926) Links: UM, IMSLP, UM
1870 Pupil of Joachim at the Berlin Hochschule. 1879 member of the Mendelssohn Quartet, Boston; 1880 teacher at the Academy of Music, Philadelphia. Composer of various works for violin, piano, songs.
Himmelstoss Richard (*June 17, 1843 — †) [M] Links: M
1871 Concertmaster, Breslau.
Hollaender, Gustav (*February 15, 1855 — †1915) [KJ] [M] [W] Professor, Berlin. Links: BMLO, KJ, M, W
Holmes, Bessie Studied 1895-1896 [P]
Hösl, Josef (*1869 —†1941) [KJ] [M] (Hösl Quartett) Links: BMLO, KAL, KJ, M
Howard, Ida Studied 1894-1895 [P]
Hoya, Amadeo von der (*1874 — †1922) Links: Schroeder
Hubay, Jenö (Eugen Huber) (*1858 —†1937) [KJ] [M] Studied 1861-63. Links: KJ, M
Huberman, Bronislaw (*December 19, 1882 — †June 15, 1947) Links: BH, PBS
1892-96 Studied under Joachim (primarily with Markees) in Berlin. Also studied with Charles Gregorovitch (whom he said “taught him everything that could be learned from a teacher”), Hugo Heermann and Martin Marsick. His performance of the Brahms violin concerto was admired by the composer. Founder of the Palestine Symphony Orchestra, later the Israel Philharmonic Orchestra. Author: Aus der Werkstatt des Virtuosen (1912). [ and . “Huberman, Bronisław.” Grove Music Online. Oxford Music Online. Oxford University Press, accessed November 27, 2014.]
Hundoegger, Agnes (*February 26, 1858 — †February 23, 1927)
Studied with Joachim, Rudorff, and Spitta at the Berlin Hochschule. Though a singer and pianist, Joachim claimed: “Sie war und (Rudorff, Spitta und mir) immer eine sehr liebe Schülerin, und ist uns lieb und wert geblieben.” (Schumann Briefedition Serie II, Band 2,2, p. 1334) Hundoegger was one of the founders of the tonic-sol-fa system, and an influential innovator in music education.
Imandt, Robert (*1894 — †1969) Links: LOC, FAG, UAA
Jackson, Leonora (Lenora Jackson McKim) (*ca. 1878 — †1969) [M] [MUGI] Links: AM, ETUDE, M, MUGI, SL Historic Women Performers: Leonora Jackson McKim – Tarisio
Lenora Jackson owned a 1714 Stradivari violin that had previously belonged to Joachim
Jacobsen Heinrich (*January 10, 1851 — †ca. 1901) [M] [W] Professor, Hochschule für ausübende Tonkunst, Berlin. Links: M 
Student of Ferdinand David. 1869 member of Leipzig Gewandhaus Orchestra. 1873 studied with Joachim. 1876 until his death instructor of violin at the Berlin Hochschule.
Upon graduation from the Berlin Hochschule für Musik, he toured as a concert violinist and then was appointed Professor of violin at the Hochschule. Jacobson taught many of Joachim’s pupils and or taught the pupils who aspired to be Joachim’s students. When Maude Powell came to Berlin, Jacobson was her initial Professor. Other Jacobson pupils included Will Marion Cook, Emily Shinner-Liddell, Lilian Shattuck, and Helene Ferchland. Jacobson later became Chairman of the Orchestral Instruments Department at the Hochschule. Occasional participant with the Joachim Quartet. On November 9, 1879, Jacobson took part in the World Premier of the Dvorak String Sextet with the Joachim Quartet.
Jäger, H. [KJ] Königlicher Kammer-Musiker. München. Links: KJ
Jahn, Karl (*August 29, 1846 — †) [M] [W] Concertmaster, Bern. Links: M, W
1870 student of De Ahna, Joachim. [W]
Kahl, Oskar [M] Concertmaster, Zürich. Links: M, BIL
Karger, Max Links: ETUDE
Keményi, Rudolf (Rezső) (*March 21, 1871 — †July 7, 1945) [KJ] [M] Links: KJ, M Wiki
Born in Budapest, Hungary. He studied first at the National Music Hall and then in Berlin as Joachim’s pupil. In 1890 he was appointed teacher at the Königsberg Conservatory and in 1897 director. In the autumn of 1898 he returned to Budapest to teach violin at the Music Academy. He was a member of the Hubay-Popper String Quartet, and later founded the Kemény-Schiffer String Quartet Society, which was dissolved in 1910.
Kess (or Kes), Willem (*February 16, 1856 —†) [M] Kapellmeister, Moscow. Leader at Amsterdam, and Kapellmeister at Dordrecht. After 1883 conductor in Amsterdam. Links: M
Ketèlbey, Harold (Brother of composer Albert Ketèlbey). Ref: Morning Post (London) 13 October 1905, p. 8.
Klingler, Karl (*1879 — †1971) [KJ] Links: Klingler Stiftung, BMLO, KJ
Knocker, Editha Grace (*March 2, 1869 — †September 19, 1950) [MUGI] Links: MUGI
Violinist, conductor, and teacher, studied with Johann Kruse, and one year with Joseph Joachim (1889 — 1890) at the Königliche Hochschule für Musik in Berlin. Concertmistress of the York Symphony Orchestra, which she founded together with T. Tertius Noble. Author: The Making of a Violinist (1921), Violinist’s Vade Mecum (appeared posthumously, 1952), and translator of Leopold Mozart’s Versuch einer gründlichen Violinschule (orig. 1756; trans. 1948).
Koellreutter, Emilie (*1887 — †?) [MUGI] Links: MUGI
Koch, Oskar (*November 12, 1862 — †March 22, 1919) [KJ] [M] Links: GENI, GN, KJ, M, NG
Concertmaster, Magdeburg (23 years). [Magdeburger Zeitung, March 25, 1919.]
König, E. [KJ] Königlicher Kammer-Musiker. Dresden. Links: KJ
Kornfeld, J.
Advertisement in Kent & Sussex Courier, December 20, 1882: “VIOLIN AND ACCOMPANIMENT LESSONS GIVEN TO LADIES AND GENTLEMEN BY HERR J. KORNFELD, PUPIL OF HERR JOACHIM. Pupils Prepared for the Local Examinations of the ROYAL ACADEMY OF MUSIC. For particulars apply (personally or by letter) to Herr J. KORNFELD, Bishop’s Down Spa; COLBRAN’S Royal Library, High-street, Tunbridge Wells; and at CHAPPELL and Co.s, New Bond-street London.”
Kotek, Josef (or Iosif) (*October 25, 1855 — †January 4, 1885) [M] [W] Instructor at Hochschule für ausübende Tonkunst, Berlin. Links: M, W
Kruse, Johann Secundus (*March 22, 1859 — †October 14, 1927) [KJ] [M] Links: Australian Dictionary of Biography, KJ, M
Member of the Joachim String Quartet
Kummer, A. [KJ] [M] London. Links: KJ, M
Langley, Beatrice (Beatrice Cordelia Tozer) (*January 12, 1872 — July, 1958) Studied 1903-1906. [P] Links: MUGI
Born in Devon, England. Studied with Joachim pupil Joseph Ludwig and with Wilhelmj. 1893 Debut at Crystal Palace under Manns (Bruch Concerto No. 1). Studied 1903-1906 with Joachim at the Berlin Hochschule. Retired from concertizing ca. 1920 due to arthritis. [MUGI]
Langley, Marjory Studied 1902-1903 [P]
Advertisement in North Devon Journal, September 28, 1905: “Miss Marjory Langley (A Pupil of Professor Joachim from the Royal Hochschule, Berlin), gives Lessons in Violin and Viola Playing and Chamber Music At Barnstaple and Bideford. — Terms, apply, J. T. White’s Music Warerooms, Barnstaple.
László, Akós (*February 10, 1871 — †1946) Links: DTA
Composer and music critic with Otto Kreßmann’s “Allgemeine Musikzeitung.” Studied violin Emanuel Wirth, and perhaps with JJ at the Berlin Hochschule.
Works: Aus meiner Heimat (Ernſte u. heitere En. aus Ungarn, eingeleitet von Jul. Stettenheim), 1898. Neue Folge as: Ungarische Skizzen (Ernste u. heitere En.), 1900.
Lefkowitz, J. [KJ] Stud. a. d. Kgl. Hochsch. f. Mus. Berlin. Links: KJ
Lentz, [M] Professor, Budapest. Links: M
Letz, Hans (*1887 — †1969)
Liddell, Emily (née Shinner), [KJ] London. (see Shinner) [MUGI] KJ
Listemann, Bernard (Bernhard) (*August 28, 1841 — †February 11, 1917) [M] Chicago, USA. Links: STOK, Image, Boston Globe JJ Hung. Cto
Studied with Ferdinand David, Joachim, and Vieuxtemps. First violin in the Leipzig Gewandhaus Orchestra at age 15. Court Kammervirtuose in Rudolstadt. 1867 moved to New York; debut in Steinway Hall. Next year made his Boston debut with Joachim’s Hungarian Concerto. 1871-1874 concertmaster of Theodore Thomas orchestra. Member of Mendelssohn Quintette Club. 1881 first concertmaster of the Boston Symphony Orchestra. 1893 taught at the Chicago College of Music. [ and . “Listemann, Bernhard.” Grove Music Online. Oxford Music Online. Oxford University Press, accessed December 10, 2014.]
Loeffler, Charles Martin (*January 30, 1861 — †May 19, 1935)
Studied with Joachim and Eduard Rappoldi; theory with Kiel and Bargiel at Berlin Hoschschule. Furthered his violin studies with Massart, and composition with Guiraud in Paris. 1881 departed for USA. Briefly returned to Paris to study with Léonard in 1884. 1887 became American citizen. Second concertmaster of Boston Symphony Orchestra (21 years). Gave American premieres of works by Bruch, Saint-Saëns and Lalo. Retired from BSO 1903. Major activity as a composer. [. “Loeffler, Charles Martin.” Grove Music Online. Oxford Music Online. Oxford University Press, accessed December 12, 2014.]
Ludwig, Joseph (*April 6, 1844 — †) [M] [W] London Academy of Music (1870). Links, M, W
Studied with Joachim winters 1864 and 1865 [W]. Teacher of Beatrice Langley [MUGI: Beatrice Langley].
Mahr, R [KJ] Tonkünstler. Berlin. Links: KJ
Notice in Kent & Sussex Courier, February 18, 1881 for a performance by “Herr Emil Mahr, Pupil of Joachim” playing Bach Chaconne.
Marcosson, Sol (*June 10, 1869 — †January 10, 1940) Concertmaster, Cleveland Orchestra (1918) Links: DFG, ECH, COS
Born in Louisville, Ky. Studied at the Berlin Hochschule under Joseph Joachim. Member of Boston Mendelssohn Quintet and quartet of the New York Philharmonic Club. Concertmaster, Chicago Symphony, and inaugural season of the Cleveland Orchestra (1918-1919).
Marienhagen, O. [KJ] Mitgl. d. Philharm. Orch. Berlin. Links: KJ
Markees, Karl (*February 10, 1865 — †1926) [KJ] [M] Links: AL, AP, KJ, M
Studied with Wirth and Joachim. Member of Berlin Philharmonic Orchestra, and also Kruse Quartet and Halir Quartet. Instructor at Hochschule für ausübende Tonkunst, Berlin.
Marsick, Martin Pierre Joseph (*March 9, 1847 — †October 21, 1924) [M] Links: M, Oxford 
1865-1867 studied with Léonard in Brussels; 1868-1869 with Massart in Paris; 1870-1871 with Joachim in Berlin. In 1892, he succeeded Sauzay as violin professor at the Paris Conservatory. Composer of various violin works.
v. d. Marwitz, (Miss) M. [KJ] Tonkünstlerin. Berlin. Links: KJ
Marx, Leon Links: ETUDE
Melani, Pietro [M] Buenos Aires. Links: M
Mendel, Elisabeth (Else Mendel-Oberüber) (*March 15, 1886 — †) [MUGI] Links: MUGI
Studied with Joachim pupils Max Brode and Ernst Wendel. 1900 – 1904 studied at the Berlin Hochschule, first year with Moser, second with Wietrowetz, and after 1902 with Joachim. [MUGI]
Messias, [M] Concertmaster, Rotterdam. Links: M
Meyer, Waldemar (*February 4, 1853 — †) [M] [W] Links: BMLO, IMSLP, BMO, Image, Friedrich, M, Mason, W
Studied with Joachim for four years. Violinist with Berlin Hofkapelle until 1881. [W]
Michaelis, Melanie (April 20, 1882 — † October 14, 1969) [MUGI] Links: MUGI
Studied at the Berlin Hochschule with Markees (1898) and Joachim (1899-1903). Debut with the Berlin Philharmonic. After 1911, lived in Munich as a performer and pedagogue. Leader of the Michaelis String Quartet and the Kammerorchester für altklassische Musik. Michaelis became a noted advocate for contemporary music. [MUGI]
Morgan, Geraldine (*1867 — †1918) [M] [MUGI] New York. Links: ETUDE, M, MH
Moser, Andreas (*November 29, 1859 — †October 7, 1925), [KJ] Berlin. Links: BMLO, KAL, KJ
Studied engineering and music history; violin studies with Joseph Joachim in Berlin. 1883 Concertmaster in Mannheim. After 1888 taught violin at the Royal Hochschule für Musik in Berlin. With Joachim published the Violinschule (3 vols.), numerous editions. Author: Joseph Joachim. Ein Lebensbild, and Geschichte des Violinspiels.
Muddock, (Miss) E. [KJ] Stud. a. d. Kgl. Hochsch. f. Mus. Berlin. Links: KJ
Müller, [M] Concertmaster, Berlin. Links: M
Müller, [M] Concertmaster, Wiesbaden. Links: M
Müller, [M] Leeds, England. Links: M
[Possibly the same as G. Müller, West Dulwich, England — Ref: Sevenoaks Chronicle and Kentish Advertiser, November 21, 1902: p. 4]:
Nachèz, Tivadar (*1859 — †1930) [M] London. Links: M
Nagel, A. [KJ] Königlicher Kammer-Musiker. Berlin. Links: KJ
Nicking, [M] Kammermusiker, Berlin. Links: M
Olk, Hugo (*1868 — †after 1930) [M] Link: M, STOK
Palaschko, Johannes (1877 — 1932) [KJ] Studied 1891-99. Tonkünstler. Berlin. Links: KJ, WIKI, IMSLP, MP
Studied music theory with Ernst Eduard Taubert and composition with Heinrich von Herzogenberg. Director of the Böttscher Conservatory in Berlin.
Panteo, Bianca (*August 12, 1876 — †?) [KJ] [MUGI] Links: MUGI, KJ
Milanese violinist; studied with Joachim 1893-94. 1906 Debut with Berlin Philharmonic Orchestra. Appeared exclusively as soloist, at least until 1909.
Pászthory, von, Pálma (Pálma von Erdmann) (*1884 — †1958) [MUGI] Links: MW, MUGI
Petri, Henri Wilhelm (*1856 — †1914) [KJ] [M] Links: KJ, Mason, M
Pilzer, Maximilan (*1890 — †1958) Concertmaster, New York Philharmonic. Links: NYT. Recording: LOC
Pinelli, Ettore (*October 18, 1843 —†September 17, 1915) [KJ] [W] Links: Oxford, KJ, W
Studied with Tullio Ramacciotti and Joachim in Hannover (1864). Taught at Accademia di S. Cecilia in Rome. 1874 founder of Società Orchestrale Romana, which he directed for 25 years.
Polo, Enrico (*November 18, 1868 — †December 3, 1953) [KJ] Professor, Turin. Links: KJ, SAN 
Powell, Maud (*August 22, 1867 — †January 8, 1920) [M] [MUGI] Studied 1884-85. Links: M, MUGI, SL Recordings: LOC 
Prill, Karl (*1864 — †August 15, 1931) Leader at Pavlovsk, then at Magdeburg. After 1891 in the Gewandhaus Orchestra, Leipzig. [M] Links: BMLO, M, Mason, Payne & Ehrlich
Quanté, [M] Moscow. Links: M
Quehl, Frida (Frida Schumann or Frida Schumann-Quehl) (*February 12, 1883 — †November 8, 1978) [MUGI] Links: MUGI DJ-Bibi
Radwaner, Amalie (née Birnbaum. See: Birnbaum, Amalie) [MUGI]
Rampelmann, Walter [M] Kammermusiker, Berlin. Links: BMLO, M
Rawack, Margarete Elisabeth (*June 29, 1877 — †February 18, 1959) [MUGI] Links: MUGI DJ-Bibi
Studied from October 1903 until Easter 1907 at the Berlin Hochschule — at first with Joachim and Wirth, and in the last year exclusively with Joachim. In 1925 became second violinist in an all-female quartet in Berlin led by Charlotte Rosen.
Recht, S. [KJ] Tonkünstler. Budapest. Links: KJ
Richter, Edwin Links: Sophie Drinker Institut
Student at Berlin Hochschule 1881–1884.
Ritter, Camillo (*1876 — †1940) Links: RC, BBC,
Teacher of William Primrose.
Ritter, Hermann (*September 16, 1849 — †?) Links: DTA
Studied with Joachim at the Berlin Hochschule. Member, Hoftheaterkapelle in Schwerin. Music Director in Heidelberg. Played under Wagner in Bayreuth. 1879 Professor for Music History and Aesthetics at the Royal Music School in Würzburg.
Rode, Minna
Roner, Herman Baron von Links: MMR
Rosenmeyer, [M] Erfurt. Links: M
Ross, Alfred [M] Liverpool. Links: FG, M
Alfred Ross was a pupil of Joseph Joachim at the Royal School of Music in Berlin, Germany between 1891 and 1896. In 1907, in New York, he married fellow student and American-born Marguerite Stilwell (a pianist taught by Ukrainian-born Vladimir de Pachmann). Alfred and Marguerite Ross returned to the UK after their wedding. Both were acclaimed concert performers, and teachers of music in Liverpool. Ross played in a quartet with Ernst Schiever.
Roy, (Miss) G. [KJ] Tonkünstlerin. Berlin. Links: KJ
Ruthström, Julius (*December 30, 1877 — †April 2, 1944)
Studied 1901-03 at the Berlin Musikhochschule under Burmester, Moser and Joachim. Awarded the Joachim Prize. 1904 gave the premiere performance of Reger’s solo violin sonata op. 42, no. 1. 1928-35 director of Mellersta Sveriges Kammarmusikförening (Sweden). “Ruthström was a persuasive advocate of Swedish music and an influential teacher. His repertory was unusually large, and he was famed for his performances of Reger, Sibelius’s concerto and a variety of contemporary music. He wrote a number of technical studies for the violin.” [. “Ruthström, Julius.” Grove Music Online. Oxford Music Online. Oxford University Press, accessed November 27, 2014.]
Salzwedel, [KJ] [M] Kammermusiker, Berlin. Links: KJ, M
Sanders, W. [KJ] Stud. a. d. Kgl. Hochsch. f. Mus. Berlin. Links: KJ
Saunders, Davol Links: ETUDE
Schäffer, (Miss) E. [KJ] Berlin. Links: KJ
Schäffer, E. [KJ] [M] Stud. a. d. Königl. Hochsch. f. Mus. Berlin. Links: KJ, M
Schering, A. [KJ] Stud. a. d. Kgl. Hochsch. f. Mus. Berlin. Links: KJ
Schiever, Ernst (*March 23, 1844 — †1915) Links: Oxford
Studied with Joachim in Hannover from 1860-1864. 1868 – 1869 replaced Auer as first violinist of the Müller Quartet. 1869 Founding member (second violinist) of the Joachim Quartet, and violin teacher at the Berlin Hochschule. 1878 settled in Liverpool as concertmaster of the Richter Orchestra. For three decades, primarius of the Schiever Quartet (with Alfred Ross, Carl Courvoisier, and Walter Hatton). [Groves]
Schindler, Rosa (*September 2, 1874 — †) [MUGI] Links: MUGI
Studied with Hans Hasse, Kruse and Joachim. Debut with Berlin Philharmonic. Seldom concertized after her marriage.
Schleicher, [KJ] [M] Concertmaster, Bremen. Links: KJ, M
Schmidt, [M] Philadelphia, USA. Links: M
Schnirlin, Ossip (*1874 — †1939) [KJ] [M] Berlin. Links: KJ, M
Schnitzler, Isidor (*June 2, 1859 — †) Studied at Cologne Conservatorium, also under Wirth, Wieniawski and Joachim. [M] Boston, USA. Links: M
Schulz, Erna (*February 27, 1887 — †ca. 1938) [MUGI] Links: MUGI
Studied four years in Budapest with Jenö Hubay; 1900 to 1902 continued her studies at the Berlin Hochschule, the first year with Wirth, Jacobsen and Joachim, the second year with Wirth and Joachim. Recipient of the Mendelssohn Scholarship; debut under Joachim’s leadership in the Berlin Singakademie; member of the Wietrowetz Quartet. Settled in London ca. 1912. Joachim’s assessment of her playing: “An outstanding achievement, masterful in every respect. A rare artist; conception, brilliant technique, everything there.” [MUGI]
Schumann, Frida (née Quehl. See: Quehl, Frida)
Schuster, Heinrich [KJ] [M] Concertmaster, Strassburg. Links: KJ, M
Schwabe, Betty (Betty Francken) (*February 27, 1876 or 1875 — †July 16, 1943) [MUGI] Links: MUGI, SH. Ref: Dundee Evening Telegraph, February 23, 1892.
Studied with Gustav Hollaender. Matriculated at the Berlin Hochschule in 1888. Studied one year with Kruse, and from 1889 to 1892 with Kruse and Joachim. 1892-1893 exclusively with Joachim. Debut with Berlin Philharmonic under Joachim (Joachim G Major concerto, Vieuxtemps Ballade and Polonaise, op. 38, Mendelssohn e minor concerto, op. 64). Played Beethoven concerto under Nikisch. 1898 married Alfred Francken, and retired from public performance. Murdered in the Sobibor concentration camp, July 16, 1943. [MUGI]
Seibert, Willy (*1870 — †) [KJ] [M] Concertmeister, Köln. Study: four years. Links: WWC, KJ, M
Seligmann, J. [KJ] Stud. a. d. Kgl. Hochsch. f. Mus. Berlin. Links: KJ
Shattuck, Lilian Links: ETUDE, HARVARD
Shinner, Emily (Emily Liddell) (*1862 — †1901) [M] [MUGI] Links: MUGI 
Skalitzky, Ernst (*May 30, 1853 — †) Born in Prague. From 1873-1879 leader in the Park Orchestra, Amsterdam; then in Bremen. [M] Links: M, Mason
Skovgaard, Axel (*1875 — †) Links: LOC
Soldat-Röger, Marie Ernestine (*March 25, 1863 — †September 30, 1955) [KJ] [M] [MUGI] Links: M, MUGI, Sophie Drinker Institut, KJ
Spence, Bessie
Notice in The Violin Times, November 15, 1899: Glasgow: Miss Bessie H. Spence, the young violinist, who has often delighted Glasgow audiences, has been accepted by Dr. Joachim as a pupil in the Hochschule, Berlin, after a keenly-contested competitive examination. Miss Spence is a daughter of Mr. William Spence, schoolmaster, Cleland, and studied in this city under Mr. Elkan Kosman.” Notice in Aberdeen Journal, January 9, 1901 of a performance by “Miss Bessie Spence (a pupil of Joachim’s, Berlin).” Bessie Spence performed often in concert and on the radio, as a soloist, chamber musician, and as second violinist of the Fellowes String Quartet, at least into the 1930s in Scotland.
Spiering, Theodore (*1871 — †1925) [M] Links: BMLO, M, MBD, Violinist
Studied 1898-92. St. Louis, Chicago, CM NY Philharmonic under Mahler.
Stiehle, Ludwig Maximilian Adolph (*August 19, 1850 †July 6, 1896) [M] [W] Muhlhausen, Alsace. Links: M
Studied with Vieuxtemps; 1863-67 with Hugo Heermann. Studied with Joachim at the Berlin Hochschule 1869-70, and again 1871-72. Member of Alard’s Quartet, Paris, 1872. 1876 Director of the Musikverein Concordia, Mühlhausen.
Stietzel, Elli (née von Broen. See: von Broen, Elli)
Stillings, Kemp (* 1889) Links VMBY
Struß, Fritz (*1847 — †April 27, 1930) [M] [W] Links: IMSLP
Studied with Joachim in Hannover. [M]
Such, Henry (*March 31, 1872 — †November 4, 1929) [KJ][M] London. Links: KJ, M, MUSIC, OM, YM
Studied from 1885-1892 with Joachim at the Berlin Hochschule. 1892 Berlin debut. 1895-1896 further studies with Wilhelmj. Professor at the Guildhall School of Music. Played a Stradivari violin formerly owned by Paganini. [Bakers]
Sussmann, (or Süssmann) Jascha [KJ] Stud. a. d. Kgl. Hochsch. f. Mus. Berlin. Links: ETUDE, KJ
Tennenbaum, Betty — Sanna Pederson lists Betty Tennenbaum as having studied with Joachim from 1905-1906. I have found no other verification of this, though she is cited in a favorable 1911 review (of Saint-Saens’ violin concerto) as having studied with Emil Sauret, and performing according to the French school. Wilhelm Altmann wrote in Die Musik of her appearance with the Berlin Philharmonic that it “lacked justification for a public performance in so formidable a setting.”
Tofte, Lars Valdemar (*October 21, 1832 — †May 281907) [M] [W] Links: M, Mason, W 
Studied with C. Petersen and J. Selmer; in Germany with Spohr, and 1853-1856 with Joachim. 1856 Copenhagen debut. 1868-1892 first violinist with Copenhagen Court Orchestra; 1866-1904 professor of violin at Copenhagen Conservatory.
Treichler, (Hans?) [M] Concertmaster, Zürich. Links: BMLO, M
Troostwyk, (Izaak) Isador (Troostwijk) (*July 3, 1862 — †June 30, 1923) Links: MA, Geni, Yale
Isidore Troostwyk (1862-1923) was born in Zwolle in the Netherlands. He began studying the violin at the age of ten, and when he was sixteen, patrons funded lessons with Joseph Joachim in Berlin. (Joachim later sent him to the United States with a letter of recommendation.) In 1883 Troostwyk was appointed professor of the violin at the Academy of Music in Amsterdam, and was appointed concertmaster of the Concertgebouw orchestra. Troostwyk emigrated to the United States in 1888. He was co-founder of the Dessauer-Troostwyk School of Music, at 781 Chapel Street in New Haven, incorporated in 1893. In 1895, Troostwyk was appointed as the first Instructor of Violin at the newly established Yale School of Music, where he was later promoted to Assistant Professor, and performed as a member of the Faculty Trio. Troostwyk became the concertmaster of the New Haven Symphony at the time of its organization in 1894. He was the founding conductor of two orchestras: the New Haven String Orchestra (1907) and the Bridgeport Symphony Orchestra.
Tschetschulin, Agnes (*February 24, 1859 — †1942) [MUGI] Links: MUGI. SD 
Born in Helsinki. Studied with Adolf Niemann, Anton Sitt; in Berlin with Wirth and Joachim. 1887 played second violin in a quartet headed by Marie Soldat. 1889 – 1890 traveled in England. 1891 returned to Scandinavia. Composed works for violin and songs.
Vögeli, Emmy [KJ] Links: KJ, MB, MW
From Zürich; Stud. a. d. Kgl. Hochsch. f. Mus. Berlin. Student of E. Singer. Also Joachim?
Wagner, Elsa [MUGI] Links: MUGI
Warburg, (Miss) S. [KJ] Tonkünstlerin. Manchester. KJ
Wasner, (Miss) K. [KJ] Stud. a. d. Kgl. Hochsch. f. Mus. Berlin. Links: KJ
Weintraub, J. [KJ] Fürstlicher Concertmeister. Gera. Links: KJ
Wendel, Ernst [MUGI] see: MUGI article on Else Mendel-Oberüber.
Wendheim, Gabriele von (Hoffmann, Hofmann von Wendheim, Hoffmann von Wendheim
Cited in the Neue Zeitschrift für Musik as a student of Moritz Mildner in Prague (NZfM 1858 I, p. 84). Pupil of Joachim in Hanover, ca. Winter 1858. Dedicatee of Joachim’s Notturno for violin and orchestra, op. 12. Links: SDI
Wendling, Carl (*August 10, 1875 — †March 27, 1962) Studied in Strasbourg with Heinrich Schuster and Florián Zajic, and in Berlin with Halir and Joachim. Links: ETUDE
1908: “Mr. CARL WENDLING was born in Strassburg in 1875. He studied the violin at the Conservatory of Music in his birthplace, and afterward went to Berlin, where he pursued his studies under Joachim for three years and a half. Returning to Strassburg, he taught for a year at the Conservatory. In 1899 he went to Meiningen, where he was concert-master of the Meiningen Orchestra, then led by Mr. Fritz Steinbach, for four years. From Meiningen he went to Stuttgart as concert-master of the Royal Court Theatre of that city and of the regularly established concerts of the Court Orchestra. He was also leader of the Chamber Musicians’ String Quartet, with Messrs. Künzel, Presuhn, and Seitz as associates. He still holds his official positions in Stuttgart, for he was granted leave of absence for one year to be the first concert-master of the Boston Symphony for this season.
Mr. Wendling has been concert-master of the Wagner Festival performances at Bayreuth since 1903, and in 1903, 1904, 1905 he was concert-master for Hans Richter at Covent Garden in performances of German opera.
Mr. Wendling made his first appearance in America as a soloist on October 26, 1907, at a concert of the Boston Symphony Orchestra in Boston, when he played Brahms’s Concerto in D major.” [BSO]
Wending became director of the Royal Stuttgart Conservatory in 1929. He died in Stuttgart in 1962. See also here.
Werner, Theodore [KJ] [M] London. Paris. Links: KJ, M
Edinburgh Evening News, March 16, 1887: “A NEW MUSICAL GENIUS. A great deal of curiosity has been recently expressed in musical circles concerning the new and phenomenal fiddle player, the great merit of whom was instantly recognized not long since by the Prince of Wales… The other night… Mr. Theodore Werner, the new violinist, played at the Lyric Club before a very representative and brilliant assembly of prominent artistic personages, and (according to a London correspondent) he created a remarkable and profound sensation. He is a pupil of Joachim, and his bowing is worthy of the great master himself; the quality of tone he produces is very fine indeed, and as a rule more rich than that of Sarasate; while his fingering is simply perfect in finish, and absolutely faultless in rapidity and determination. Mr Werner is altogether a very marvelous musician.
Wickham, Madge Soloist with Berlin Philharmonic 1887.
Wietrowetz (or Wietrowitz), Gabriele (*January 13, 1866 — †April 6, 1937) [KJ] [M] [MUGI] Links: MUGI, Sophie Drinker Institut, BMLO, KJ, M 
Wiggers, [M] Berlin. Links: M
Wirth, Emanuel (*1842 — †1923) Links: KALLIOPE 
An interesting blog post by Sanna Pederson: Joachim’s students as orchestral players.
02 Sunday Nov 2014
Posted in Obituaries
Blätter für Haus- und Kirchenmusik, Vol. 11, No. 12, (September 1, 1907), pp. 177-179.
N. B.: Obituaries are posted for historical interest only, and should not be taken as sources of accurate biographical information.
Josef Joachim †.
“Nur ein Geiger!” Allerdings der größten einer. Und als ihm der Tod am 15. August das Saitenspiel zerschlug, gedachten wir wehmütig der Stunden da er es uns in so wundervoller Weise erklingen ließ.
Aber doch war er auch wieder mehr als ein bloßer Geiger. Fast vier Jahrzehnte hindurch wirkte er in der Reichshauptstadt und war als ausübender Künstler für die Entfaltung und Entwicklung des musikalischen Lebens in ihr von großer Bedeutung. Von größerer aber und von weittragenderer als Lehrer seines Instruments. Richtiger gesagt: seiner Kunst. Denn das war das Beste an ihm, daß er nicht nur gute Geiger bilden wollte, sondern gute Geiger, die zugleich echte Künstler wären. — — Wird jetzt wohl in Nachrufen, die dem entschlafenen Geigenmeister gewidmet sind, in erklärlicher Begeisterung gesagt, er habe der ganzen Musikentwicklung in Berlin die Wege gewiesen — in einem heißt es sogar, er habe der ganzen Musikwelt Richtung und Ziel gegeben — so braucht man demgegenüber doch nur darauf hinzuweisen, daß naturgemäß ja weitgehender und wirksamer jener Einfluß ist, den die Oper, den die Orchester- und Gesangskonzerte ausüben, als der von wenigen Quartettabenden, von noch weniger Solovorträgen oder gar von der nicht öffentlichen Musikdarbietung in der Hochschule ausgeht.
Im Wesen Joachims, in seinem Werdegange sowie in der Auffassung und Lehre seiner Kunst findet sich auffallend viel, was zu einer Vergleichung mit dem großen Spohr, dem Vater der deutschen Geigerschule, reizt, der ja noch vielseitiger war als Joachim, der sein Ideal aber auch in den Klassikern beschlossen sah.
Spohrs Leben reichte nahe an 76 Jahre, Joachims ging etwas darüber hinaus. Beide wirkten fast 40 Jahre lang in ihren hervorragenden Stellungen. Beider Talent bekundete sich zuerst dadurch, daß sie Lieder auf einer Kindergeige nachspielten, die der eine von der Mutter, der andere von der Schwester hatte singen hören. Beider Bogentechnik war anfangs vernachlässigt und mußte später ernstlich umgebildet werden. Beide wählten sich eine Künstlerin zur Lebensgefährtin, Spohr eine Harfenspielerin, Joachim eine Sängerin, mit denen beide auch auswärts, so in Paris, namentlich aber viele Jahre hindurch in London konzertierten. Beider Haupttätigkeit fällt in die Zeit nach großen geschichtlichen Ereignissen. Diejenige Spohrs nach des Vaterlandes Errettung von der Fremdherrschaft, die Joachimsche beginnt mit der Wiederaufrichtung des deutschen Reiches. Spohr sah in dem formschönen und gefühlsinnigen Mozart sein Vorbild, und bald wurde er, nur anfangs ein Verehrer Beethovens, ein entschiedener Gegner seiner Musik. So wurzelte Joachims Künstlerseele in dem tiefgründigen Beethoven, während ihn Wagners Musik nur kurze Zeit anzog, und er sich ihr dann feindlich gegenüberstellte. Als Spohrs Geigerschule in Kassel 1859 ihr Ende fand, begann die Joachims in Hannover zu erblühen, um sich dann zehn Jahre später in Berlin herrlich zu entwickeln. Was Spohr begonnen hatte, setzte Joachim im gleichen Geiste fort. Aber er vertiefte die Kunst des Violinspiels, indem er ihr höhere Aufgaben zu lösen gab.
Es paßt durchaus auch auf Joachim, was Rochlitz von Spohr sagt: “Die ausgezeichnetste Fertigkeit, alle Arten des Bogenstriches, alle Verschiedenheiten des Geigentones, die ungezwungenste Leichtigkeit, das macht ihn zu einem der geschicktesten Virtuosen. Aber die Seele, die er seinem Spiele einhaucht, die Innigkeit des Gefühls und seine Einsicht in den Geist der verschiedensten Kompositionen und seine Kunst, jede in ihrem Geiste darzustellen, das macht ihn zum wahren Künstler.”
Joachim, am 28. Juni 1831 in Köpcsény bei Preßburg geboren, hatte den ersten Violinunterricht bei Szervaczinski, dem Konzertmeister der Pestet Oper, kam aber schon 1838 nach Wien, wo ihn Miska Hauser kurze Zeit und dann Josef Böhm fünf Jahre lang unterrichtete. Ihm verdankte er fast alles, was er konnte. Als fertiger Spieler ging er 1843 nach Leipzig, wo er in demselben Jahre bereits im Gewandhause mit großem Erfolge auftrat. Unter Mendelssohns Direktion spielte er 1844 in London zum ersten Male öffentlich das Beethovenkonzert und zwar den Berichten zufolge Meisterlich. Liszt zog ihn nach Weimar, wo er 1849 Konzertmeister wurde. Doch schon 1853 nahm er eine Stellung in Hannover an, die ihn für die Oper und für Solovorträge in den Hofkonzerten verpflichtete. Seiner wissenschaftlichen Ausbildung hatte er in Leipzig schon fleißig obgelegen. Von Hannover aus besuchte er eine Zeitlang Vorlesungen an der Universität zu Göttingen. — Kurze Zeit und nur äußerlich gehörte er der neudeutschen Schule an, öffentlich sagte er sich von ihr los, schrieb auch an Liszt, daß er selbst ihm wert, seine Musik ihm aber stets fremd bleiben werde. Mit Wärme wandte er sich dann der Persönlichkeit und der Musik des Brahms zu. — Er durfte sich in Hannover der Gunst des Königspaars erfreuen, das sich ihm auch zu Taufpaten anbot, als er zum Christentume übertrat. Bald darauf vermählte er sich mit der Opernsängerin Amalie Schneeweiß. Durch die staatliche Umwälzung des Jahres 1866 wurde er seiner Verpflichtungen in Hannover ledig. Zunächst machte er mit seiner Gattin weitere Kunstreisen und ließ sich dann 1868 in Berlin nieder, wo er bald darauf zum Direktor der Königlichen Akademischen Hochschule für Musik ernannt wurde. Das blieb er bis 1882. Da bestimmte ein neues Statut, daß die Vorsteher der vier Abteilungen (für Komposition, für Gesang, für Orchesterinstrumente und für Klavier) in jährlichem Wechsel die Direktion zu übernehmen hätten. Im Jahre 1893 ordnete indes der Kaiser an, daß Joachim, solange er lebe, als Direktor des Instituts zu betrachten sei. Mit seinem Tode wird daher nicht die Stelle des Direktors, sondern nur die des Vorstehers der Abteilung für Orchestreinstrumente frei.
Während seiner Lehrtätigkeit an der Hochschule behielt Joachim seine Konzertreisen, namentlich die nach London, bei. Schon bald nach seiner Anstellung begründete er das weltberühmte Streich-Quartett, das am längsten in der Besetzung Joachim-de Ahna-Wirth-Hausmann bestand und vorzugsweise Haydn, Mozart und Beethoven pflegte, diesen auch namentlich in seinen letzten Quartetten. Lange Jahre hindurch blieben diese Quartett-Darbietungen mustergültig. Joachim, obschon der Geburt nach kein Deutscher, war doch mit deutschem Empfinden durchtränkt. Von seinem siebenten Jahre an atmete er deutsche Luft und lebte und webte von da ab fortwährend in der Atmosphäre der deutschen Kunst. Daher ist er ihr ein treuer Anhänger und selbstbewusster Apostel gewesen. Und dies Selbstbewusstsein, das sich meist in der edlen Form der Würde zeigte, drückte sich auch äußerlich bei seinem Auftreten aus, wie wir selbst es noch in ähnlicher Weise bei der reckenhaften Persönlichkeit Spohrs gesehen haben. Joachim war aller Griff- und Strichkünste Meister, kehrte aber nie den Virtuosen hervor, sondern wandte von seiner großen Kunstfertigkeit nur soviel an, wie erforderlich war, die Vortragsstücke möglichst vollendet darzustellen. Mit feinem Sinne drang er in das Verständnis eines jeden derselben ein, und es war ihm gegeben, es auch seinen Partnern zu vermitteln. So brachte er die Quartette im Geiste der Komponisten, aber doch vom Hauche seines eigenen Gefühls durchweht, heraus. Wer das in seiner guten Zeit erlebt hat, wer ihen damals das Mendelssohn- oder Beethoven-konzert sowie Bachs Sachen für eine Sologeige hat spielen hören, der ist Zeuge von etwas Unvergleichlichem gewesen. Die Wahrheit aber verlangt die Feststellung, daß die Kraft des Siebzigjährigen schon nachließ. Wie hätte die des Sechsundsiebzigjährigen noch ausreichen können! Aber so groß war die Verehrung für den Künstler, daß man bis zuletzt ihm zujubelte, wenn er nur auftrat und — aus übergroßer Liebe blind und taub — entzückt war, wenn er spielte. Die Menge sah nicht den kurzen, unsichern Strich, hörte nicht den müden, oft unreinen Ton. Doch es gab auch Zuhörer, denen dann Joachims Spiel schmerzlich war.
Wenigen Sterblichen war das Glück so hold, wie dem nun von uns Geschiedenen. Man kann sagen, daß er beständig auf sonnigen Höhen gewandelt sei. Gar selten nur verdunkelte seinen lachenden Himmel eine Wolke. “An Ehren und an Siegen reich” beschloss er sein langes Leben. Und das schwere Leiden, von dem er in den letzten Wochen betroffen wurde, kam ihm kaum noch zu Bewusstsein. Ihm selbst nicht bemerkbar, zog ihn der Tod sachte in seine Schatten und raunte ihm dabei die Worte des zweiten Themas aus dem Schubertschen d Moll-Quartett, das er uns so oft herrlich vorgeführt hat, ins Ohr: “Sei gutes Muts, ich bin nicht wild, sollst sanft in meinen Armen schlafen!” Mit großem Gepränge und angesichts von Tausenden, die ihn auf seinem letzten Wege geleiteten, wurde er am 19. August auf dem Kirchhöfe der Kaiser Wilhelm-Gedächtniskirche ins Grab gelegt. Zu den Modernen gehörte er in keiner Weise, er hätte sich sonst verbrennen lassen.
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Was wir gegen ihn hatten: daß er der Kunst Schranken setzte, daß er sich zu der großen Entwicklung der deutschen Musik, die durch den Namen Richard Wagner bezeichnet wird, feindlich verhielt und seinen Schülern nicht einmal gestatten wollte, ihr teilnehmend zu folgen, das braucht hier nicht erörtert zu werden, durfte aber nicht verschwiegen bleiben.
Wenn es nun auch mit dem Joachim-Quartette zu Ende ist, wenn des Meisters Sologeige uns auch nicht mehr erfreuen wird — wir können es tief beklagen, brauchen aber nicht zu verzagen. Es gibt schon und wird fernerhin vorzügliche Streichquartette geben, und auch hervorragende Bach- und Beethovenspieler werden wir nicht zu entbehren brauchen. Die schöne Grabschrift Grillparzers für Franz Schubert paßt in ihrer ersten Hälfte auch für Joachims Ruhestätte: “Die Tonkunst begrub hier einen reichen Besitz.” Die zweite Hälfte können wir, die trauernden Hinterbliebenen, als Trost mit einer leichten Abänderung auf uns beziehen: “Aber es bleiben uns schöne Hoffnungen.”
Joachims ernster, hochstrebender Kunstsinn und seine Geigenkunst sind nicht mit ihm gestorben. Der ausübende Künstler zwar ist von uns gegangen, der große Lehrmeister jedoch lebt in einer reichen Anzahl seiner Schüler fort. Als Lehrer ihres Instrumentes, als Solisten, Orchestermitglieder, Kapellmeister findet man sie in allen Landen, in seinem Geiste wirkend. Nicht das ist sein größter Ruhm, daß er einige erhabene Kunstwerke unvergleichlich zur Geltung zu bringen wußte — das blieb auf engen Raum und kurze Zeit beschränkt. Sondern, daß er seinen Geist auf Schüler übertragen konnte, die nun echte Kunst und edlen Kunstsinn überall hin verbreiten. In ihnen lebt Joachim weiter und wird so noch lange weiter leben.
Berlin, 20. August 1907. Rud. Fiege
31 Friday Oct 2014
Posted in Obituaries
Rheinische Musik- u. Theater-Zeitung, Vol. 8, No. 33/34 (August 24, 1907), pp. 413-414,
N. B.: Obituaries are posted for historical interest only, and should not be taken as sources of accurate biographical information.
