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Joseph Joachim

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Joseph Joachim

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Vienna

22 Wednesday Oct 2014

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VIENNA

Pepi

Joseph Joachim, an early daguerreotype

Joachim initially took up residence with his grandfather Isaac Figdor in Leopoldstadt, the district along the Danube canal that was home to most of Vienna’s Jewish population. Figdor, a widower of eight years, was a man of considerable wealth, a leader in the Viennese business community, a tolerated Jew of long-standing, and, in 1847, one of only 193 Jewish family heads enrolled in Vienna. He is said to have been traditionally strict about manners and habits, but he was also kindhearted, and gently solicitous of his grandson’s feelings of homesickness during a difficult period that left him vulnerable to what he later described as deeply rooted feelings of melancholy, desolation, abandonment and apathy.

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Miska Hauser

[i]

Joachim’s first teacher in Vienna was a seventeen-year-old student of Joseph Mayseder (*1789 — †1863), the mercurial Miska (Michael) Hauser (*1822 — †1887), then making a name for himself as an elegant salon player. The Joachims may have been aware of him through a local connection: Hauser came from a prominent Jewish family in Pressburg (Hauser’s father, Ignaz, was an accomplished amateur violinist, said to have been acquainted with Beethoven). It quickly became apparent that Joseph needed a more experienced teacher, however, and after only a few weeks the lessons were discontinued.

Georg_Hellmesberger_senior_by_Charles-Louis_Bazin

Georg Hellmesberger Sr

Portrait by Charles-Louis Bazin

Joachim was entrusted next to Georg Hellmesberger senior (*1800 — †1873), a distinguished and experienced pedagogue who had been an early pupil of Joseph Böhm (*1795 — †1876). Among Joachim’s fellow students were Hellmesberger’s two sons, Joseph (*1829 — †1893) and Georg junior (*1830 — †1852), both of whom would go on to significant professional careers. Together with Joachim and a boy named Adolf Simon, they formed a “quartet of prodigies” that on 25 March 1839 played Ludwig Maurer’s popular Sinfonia Concertante for the benefit of the Bürgerspital fund, a favored Viennese charity. “In spite of the great success of this concert, Hellmesberger was not wholly satisfied,” writes Andreas Moser on Joachim’s own authority, “for he found (Joseph’s bowing) so hopelessly stiff, that he believed nothing could ever be made of him.” Berlin critic Otto Gumprecht relates a similar story: “after nine months of instruction, [Hellmesberger declared] that he could not vouch for the student’s future, because his right hand was much too weak to draw the bow with power and endurance.” Joachim’s parents, in Vienna for the concert, resolved to take him back to Pest and train him for a different profession.

Coincidentally, Joseph Böhm’s most celebrated pupil, Heinrich Wilhelm Ernst (*1814 — †1865), had just arrived in Vienna, and was giving a series of highly-publicized concerts. When the Joachims turned to Ernst for advice about their son’s professional prospects, Ernst recommended Joseph Böhm as the best person to develop his talent.

Joseph Böhm

Joseph Böhm

An important teacher, [Leopold] Joseph Böhm is known today as the father of the Viennese school of violin playing. His pupils included some of the leading artists of the age: Ernst, Joachim, Georg Hellmesberger senior, Adolf Pollitzer, Eduard Rappoldi, Ede Reményi (Eduard Hoffmann), Ludwig Straus, Edmund Singer, Jakob Dont and Jakob Grün. As a member of the Imperial Hofopernorchester from 1821 to 1868, Böhm played in many historically significant concerts, including a performance of Beethoven’s 9th symphony under the composer’s direction. He became an early advocate for Schubert’s chamber music, and, on 26 March 1828, he gave the premiere of Schubert’s opus 100 trio.  Together with Holz, Weiss and Linke of the original Schuppanzigh Quartet, he performed Beethoven’s string quartets under the composer’s supervision. For Joachim, this direct personal and musical connection to Beethoven held a great and abiding significance.

Joachim’s training under Böhm was a true apprenticeship. In accepting him as a student, Böhm and his wife agreed to take him into their home just outside of Vienna’s first district, two blocks from the Schwarzspanierhaus where Beethoven had lived and died. For the next three years, for all but the Summer months, they would raise him in loco parentis, and train him in the practical skills of a professional violinist. Though not a violinist, Frau Böhm played a critical role in the Joseph’s musical upbringing, attending his lessons, and taking personal charge of his practicing.

Böhm had been a sometime pupil of Pierre Rode, and his method was a combination of the German and French schools. Under Böhm, the caprices of Rode, together with selected works of Mayseder, formed an important part of Joachim’s technical and musical training. In later life, Joachim could play from memory pieces by Viotti, Rode or Mayseder that he had studied with Böhm, though he had not practiced them since. As a teacher, Böhm was able to help Joseph remedy the defects in his bowing that Hellmesberger had found so ruinous.

Joachim gave his first public performance as Böhm’s protégé on 15 November 1841, playing an Adagio and Rondo by Charles de Beriot. The occasion was a gala benefit for the homeopathic hospital of the Merciful Sisters of St. Vincent de Paul, held in the in the k. k. Hoftheater nächst dem Kärntnerthore — the theater where, seventeen years earlier, Beethoven had conducted the premiere of his 9th Symphony. The long musikalisch-declamatorische Akademie featured the city’s most illustrious performers. Two months later (27 January 1842), he gave his first performance of a piece that would become his Cheval de Bataille: Heinrich Wilhelm Ernst’s Fantasie Brillante sur la Marche et la Romance d’Otello de Rossini, Op. 11 (dedicated to Joseph Böhm), first published two years earlier in Mainz.

Though he no longer concertized publicly, Böhm was an enthusiastic quartet player at home. He would occasionally allow Joachim to participate in these informal performances with colleagues, which formed an important part of Joachim’s musical education. “For Joachim,” writes Andreas Moser, “these gatherings in the Böhm household were an inexhaustible source of recollection about an epoch in the performing arts that has found its conclusion with his passing; and for me an object of inestimable edification when we later worked together on our shared edition of the Beethoven string quartets.”

Joachim studied privately with Böhm for more than two years before enrolling at the Vienna Conservatory. His name appears as a registered student there for a short time only — during the school year 1842-1843 — and then, only as a member of Böhm’s advanced violin class. At the same time, he received private instruction in Harmony and Counterpoint from Gottfried Preyer (*1807 — †1901), a faculty member at the Conservatory who was himself a former pupil of the renowned Imperial and Royal Court Organist Simon Sechter (*1788 — †1867). Joachim participated as a section leader in the conservatory orchestra, which Preyer conducted. Published conservatory records show the 1842-1843 school year as his first year, with an obligation for one more — an obligation never fulfilled. At the end of his student year, Joachim received an award of the second highest degree, the “premium with entitlement to a medal” — an award generally given to encourage and reward diligence. He received top grades for diligence, progress and morals.

0095Baden bei Wien

Painting by C. L Hofmeister [Kinsky Art Auctions, Vienna]

At the end of the 1843 school year, Joachim spent the month of August and the first weeks of September with his Figdor relatives in Baden bei Wien, a spa resort frequented by affluent Viennese, including the highest nobility. There, he participated in a gala benefit concert for the victims of a massive conflagration in the Galician town of Rzeszów, produced by its featured performer, Moritz Gottlieb Saphir (*1795 — †1858). In the days before regular concert series, Saphir made a specialty of organizing such events. Saphir’s “academies” were variety shows, constructed according to a simple formula: a mixture of song, humor, dramatic reading, and virtuoso performance. In addition to featuring the most celebrated Viennese artists, they provided a springboard for the talents of some of Austria’s most promising young musicians. Beside Joachim, Saphir gave early opportunities to another Böhm prodigy, Alois Minkus, who played the Othello Fantasy on 1 May 1842 at a Saphir academy in Pressburg, and also to the 8-year-old Moravian violinist Wilhelmine Neruda (later Norman-Neruda, Lady Hallé), who performed de Beriot’s sixième Air Varié in January 1847. Saphir, well known as the editor of the popular journal Der Humorist, took a particular interest in Joachim, becoming his first significant promoter.

Joachim gave a number of well-publicized performances during his final time in Vienna. On 20 February 1843, he played to great acclaim at the annual “private entertainment” of Franz Glöggl (*1796 — †1872), a publisher, music shop owner, professor of trombone and bass at the Conservatory, and the archivist of the Gesellschaft der Musikfreunde. In April, he played a Rode concerto (the program does not reveal which) in a Conservatory pupils’ concert, under the direction of Ferdinand Füchs, who had temporarily taken over leadership of the orchestra from Preyer.

That year, Joachim’s cousin Fanny Figdor, who had been so influential in helping the Joachims to send their son to Vienna, would once again play a decisive role in directing his career. In 1839, Fanny had married Hermann Christian Wittgenstein, a wool merchant some eleven years her elder, and a business acquaintance of her brother Gustav. Operating out of offices in Vienna and Leipzig — where nearly all the wool-export companies were headquartered — Wittgenstein acquired wool from Poland and Hungary and sold it in England and Holland. After their wedding, Hermann and Fanny left Vienna and settled in Leipzig, where, as it happened, Felix Mendelssohn was just then working to create a Conservatory of Music. “From her new home,” writes Otto Gumprecht, Fanny “could not report enough of the lively artistic life that surrounded her on all sides. These alluring descriptions made the deepest impression on her cousin’s mind. He resolved to complete his studies at the newly-founded Leipzig Conservatory, and despite the objections of his Viennese relatives, who, jealous of the family pride, did not want to allow him to move so far away, he persisted in his decision.” Here, as elsewhere in the literature, Joachim is depicted as having had a strong and even stubborn sense of his own best interest and future direction. Andreas Moser nevertheless credits Fanny Wittgenstein, who “exerted her whole influence to have the boy sent to Leipzig for further development in his art.” In any case, Julius Joachim was persuaded, and resolved to follow both Fanny’s advice and his son’s desire. In convincing Julius Joachim to send his son to Leipzig, Fanny prevailed over the united objections of her own father and her uncle Nathan, who often vied with one another as Joseph’s principal caregiver. More importantly, she prevailed over the opposition of Joseph Böhm, who, according to Moser, showed not a little displeasure at the idea. Böhm had wanted Joseph to follow the virtuoso route to Paris.

Before departing for Leipzig, Joachim made an important début, in the fourth-ever subscription concert of the nascent Vienna Philharmonic Orchestra. Playing on Sunday, 30 April, before a capacity audience at the Imperial and Royal Redoutensaal, he performed the Adagio religioso and Finale marziale movements of Vieuxtemps’s fourth concerto in D minor. Joachim had had an opportunity to hear the concerto from Vieuxtemps himself that Spring, when the young Belgian violinist had played in the same hall.

Leipzig Illust

Leipzig

During the summer of 1843, Joachim travelled to Leipzig, to audition for Mendelssohn. There, he also became acquainted with his prospective teachers: Gewandhaus concertmaster Ferdinand David (*1810 — †1873), and the eminent theorist and cantor of St. Thomas’s Church, Moritz Hauptmann (*1792 — †1868). Returning to Vienna for a final visit, he gave a farewell recital. Saphir reported (20 July) in Der Humorist: “While visiting his family, the amiable violinist, Joseph Joachim, also highly esteemed in the [Imperial] Residence, has given a private academy in the salon of his uncle, the wholesaler Herr Vigdor. All that our city has to show for artists and patrons of art graced this private concert with their presence. The winsome little singer (that is Joachim on his instrument) was smothered in caresses. He who has not seen this Wunderkind with his own eyes as he performs the compositions of Classical masters would believe himself to be hearing a Nestor, or one of the modern, celebrated heroes of the violin. Joseph Joachim lacks only world renown — the aura of widespread reputation, in order to shine amongst the violin-stars of the present, both spiritually and technically. Whether his honorable family will see their wish fulfilled, to have the great public delight in their darling’s songs, is not yet determined.”

Joachim took his final leave from Vienna on August 1, 1843, traveling by post coach via Prague to Dresden, and taking the train from there to Leipzig.

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© Robert W. Eshbach 2014


[i] NY Public Library

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Pest

21 Tuesday Oct 2014

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PEST

jj-initials1-e1395761217629His sister’s songs, and the dances of local gypsies and street musicians, are said to have been Joachim’s first musical impressions. His early attempts at reproducing them on the violin were encouraged and guided by a family friend, a medical student and amateur violinist named Stieglitz. After a mere four weeks, impressed by the child’s unusual gift for music and aware of his own limitations as a teacher, Stieglitz encouraged the Joachims to find Joseph a proper instructor. A memorial article in the Pester Lloyd, ostensibly by one of Joachim’s former students, asserts as “a little-known fact” that Joseph received his first formal violin lessons from Gustav (Gusztáv) Ellinger (1811–98), a first violinist and later concertmaster with Pest’s German Theater. (This is echoed in an entry on Joachim in Emil Vajda, A Hegedü, Gyôr, 1902, p. 283). Reportedly, young Joseph took his lessons together with another student, “Karl M.,” who subsequently became a noted writer. When Ellinger repeatedly criticized Joseph, comparing him unfavorably to his companion, the Joachims took their son to another teacher: the concertmaster and conductor of the opera in Pest, Stanisław Serwaczyński, who gave him a thorough grounding in the modern French Méthode de Violon, the work of Viotti’s successors, Rode, Baillot and Kreutzer.

hp_scanDS_45171242246Stanisław Serwaczyński

Joachim grew up in comfortable upper middle class circumstances. However, the family fortunes were significantly interrupted in March 1838, when the Danube overflowed its banks, destroying much of the city of Pest. The Joachims lost their home, and were forced to find refuge across the river in Buda. The flood hit just days before the Spring fair was due to take place, with all of the city’s storerooms filled to capacity, making it likely that Julius Joachim’s business sustained substantial financial losses.

guernier_joseph_joachim-the_young_violinist~OMe00300~10620_20080913_09-13-08_57

Joseph Joachim at the time of his Adelskasino debut

This priceless historical artifact was erroneously sold by Stair Galleries on September 13, 2008 as “Joseph Joachim Guernier — The Young Violinist,” “Oil on panel, 8 3/4 x 6 3/4 in. Provenance: Property from the New York Public Library, Astor, Lenox and Tilden Foundations.” It’s whereabouts are currently unknown.

The following year, Joseph’s success in repertoire by de Bériot, Cremont, and Mayseder was such that Serwaczyński arranged for him to make his debut appearance, on 17 March 1839, at the National Casino (Nemzeti Casino), nicknamed the Casino of the Nobility (Adelskasino), in Pest. Joseph’s successful debut brought him to the attention of an important benefactor: Count Franz (Ferenc) von Brunsvik, a liberal aristocrat and a pillar of Pest’s musical community. [1] At the same time, it won him the enthusiasm of the count’s sister Therese (Teréz), and of Brunsvik’s friend, Adalbert Rosti. In Pest during the winter months, the Brunsviks hosted chamber music soirées several times a week, in which the best professional musicians took part—including, later in 1839, Franz Liszt, and in 1842 the twelve-year-old Anton Rubinstein. [2] After his debut, Joseph became a regular guest at these evenings, and on several occasions, he was asked to sit in on the music-making. [3]

At the same time, Serwaczyński was preparing to leave Pest, and it was decided that Joseph should go to Vienna to study. Joseph’s grandfather lived in Vienna, as did his uncles Nathan and Wilhelm Figdor. Wilhelm’s daughter Fanny, who would later play a decisive role in his upbringing, arrived in April for a short visit, returning later that Summer to take Joseph to Vienna to live.

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© Robert W. Eshbach 2014


[1] Brunsvik, the dedicatee of Beethoven’s Appassionata Sonata, op. 57, had been among the earliest performers of Beethoven’s string quartets. Beethoven was also particularly close to the count’s sister, Therese, to whom he dedicated his op. 78 sonata, and who has been proposed at various times as a candidate for the composer’s mysterious “Immortal Beloved.”

[2] Among the regular auditors was the respected composer Robert Volkmann. “I . . . experienced beautiful musical pleasures at Count Brunsvik’s, where string quartets, quintets, duos and piano trios were played very artistically,” he wrote in 1841. “The count . . . plays cello very well, and his wife is an outstanding pianist, who plays with great brilliance, power and spirit. Her interpretation of various composers, Beethoven, Hummel, Chopin is exceptional.” Quoted in Maria Hornyák, Ferenc Brunszvik, ein Freund von Beethoven, Studia Musicologica Academiae Scientiarum Hungaricae, T. 32, Fasc. 1/4. (1990), p. 231.

[3] According to Mária Hornyák, the Brunsviks played “above all works of the Viennese classic composers: Haydn, Mozart, Beethoven, Carl Czerny, Hummel and Spohr. But they also liked to play works by Cherubini, Onslow, Bernard and Andreas Romberg, and, among the Romantics they liked primarily Chopin and Mendelssohn.” The Brunsviks’ music library, consisting of 560 pieces—solo, chamber music, orchestral and operatic works— was taken over by the Musikhochschule Franz Liszt in 1937–38. See Hornyák, Ferenc Brunszvik; and also Moser, Joseph Joachim, Vol. 1, p. 10.

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Joseph Joachim

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JJHanfstaengelPSCrop copy

JOSEPH JOACHIM

* 28 June 1831 Kittsee (Kopčany/Köpcsény) Hungary (now Austria)

† 15 August 1907 Berlin

Violinist, Composer, Conductor, and Pedagogue. Founding director of the Königlich Akademischen Hochschule für ausübende Tonkunst (now Universität der Künste) Berlin. Joachim studied violin with Stanisław Serwaczyński and Joseph Böhm; composition with Gottfried Preyer and Moritz Hauptmann. He was a protégé of Felix Mendelssohn and Robert Schumann, and, in the early 1850s, Franz Liszt. In adulthood, he became a close friend and collaborator of Johannes Brahms and a celebrated opponent of the New German School of Wagner and Liszt. He is widely regarded as one of the most significant and influential musical personalities of the long 19th century.


LIFE

Screen Shot 2015-08-21 at 12.01.39 PMoseph Joachim was born in Kittsee (Kopčany/Köpcsény) Hungary, in what is now the Burgenland region of Austria. He was the seventh child of Fanny (Franziska) Figdor Joachim (* ca. 1791 — † 1867), the daughter of a prominent Kittsee wool wholesaler then residing in Vienna, and Julius Friedrich Joachim (* ca. 1791 — † 1865), also a wool merchant, born 20 miles to the south in the town of Frauenkirchen (Boldogasszony). [1] Joachim’s birth date, now commonly accepted as June 28, 1831, has never been authenticated. [2]

Joachim was an Austro-Hungarian Jew, whose ancestors had been banished from SynagogueVienna by Emperor Leopold I in the early 1670s and settled in the Kittsee Kehilla, one of the culturally prominent Sheva Kehillot (“Seven Jewish Communities”) that arose in the late 17th century, and stood under the protectorate of the powerful Esterházy family. [3] The Sheva Kehillot were among the wealthiest of the Hungarian Jewish communities, and their members were among the best-educated of Hungary’s Jews. Many were traders, who enjoyed considerably more privileges than the ghetto Jews of nearby Pressburg (Bratislava). As merchants, they travelled freely throughout the region, maintaining close contact with Vienna’s Jewish population, as well as with the large numbers of their co-religionists in Pressburg and Pest. In the early 1820’s Joachim’s maternal grandparents, Isaac (* 1768 — † 1850) and Anna (* 1770 — † 1833) Figdor, left Kittsee and settled in the Viennese Vorstadt of Leopoldstadt, the district along the Danube canal that was home to most of Vienna’s Jewish population. That the Figdors, as Jews, were permitted to live in Vienna at that time, before the loosening of residential restrictions in 1848, is an indication of special status, and suggests affluence. [4] Amongst the Figdors’ other grandchildren was Fanny Figdor Wittgenstein, the mother of the industrialist Karl Wittgenstein and the grandmother of the pianist Paul Wittgenstein and the philosopher Ludwig Wittgenstein. Fanny Wittgenstein served as a surrogate mother to Joachim throughout much of his youth.

In 1833, the Joachim family settled in Pest, then the capital of Hungary’s thriving wool industry. [5] Joseph’s interest in music was stimulated by hearing his older sister, who studied voice and accompanied herself on the guitar. He became fixated on the violin when his father brought him a toy violin from a fair.

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[1] The siblings were: Friedrich (*1812 — †1882, m. Regine Just *1825 — †1883), Josephine (*1816 — †1883, m. Thali Ronay), Julie (*1821 — †1901, m. Joseph Singer, *ca. 1818 — †1870), Heinrich (*1825 — †1897, m. Ellen Margaret Smart *ca. 1844 — †1925), Regina (*ca. 1827 — †1862, m. William Östereicher,  *ca. 1817, and later Wilhelm Joachim, *ca. 1812 — †1858), Johanna (*1829 — †1883, m. Lajos György Arányi, *1812 — †1877 and later Johann Rechnitz, *ca. 1812), and Joseph  (*1831 — †1907, m. Amalie Marie Schneeweiss *1839 — †1899). An 1898 interview with Joachim [Musical Times, April 1, 1898, p. 225] claims that Joachim was “the youngest of seven children.” In his authorized biography, however, Andreas Moser claims that Joseph was “the seventh of Julius and Fanny Joachim’s eight children.” The name and fate of the eighth and last sibling is unknown.

[2] Joachim himself was unsure of his birth date. For the first 23 years of his life, he believed he had been born in July — either the 15th or the 24th (Carl Ferdinand Becker, for example, in his Die Tonkünstler des Neunzehnten Jahrhunderts, (Leipzig, 1849, p. 82), gives Joachim’s birthdate as July 15, 1831. Joachim was living in Leipzig at the time, and was, undoubtedly, the source of this information). Joachim apparently discovered the date of June 28 after receiving a Hochzeit-Geburts-Schein from Kittsee (see letter to Clara Schumann dated 21 August, 1863 [Schumann/BRIEFEDITION II, 2.1, p. 735]. Joachim’s boyhood friend Edmund (Ödön) Singer (* 14 October 1831, Totis, Hungary — † 1912) also calls into question the year of Joachim’s birth. “All reference books gave 1831 as Joachim’s birth year, as well as the birth-year of my humble self. […] Joachim himself asked me one day: ‘How does it happen that we are always mentioned as having been born in the same year?  I am at least a year older than you!’ — I, myself, finally established my glorious birth-year after many years, while Joachim tacitly allowed the wrong date to persist.” [Edmund Singer, “Aus meiner Künstlerlaufbahn,” Neue Musik-Zeitung (Stuttgart), Vol. 32, No. 1, (1911), p. 8.]

[3] Deutschkreutz, Eisenstadt, Frauenkirchen, Kittsee, Kobersdorf, Lackenbach and Mattersburg (Hungarian: Német-Keresztur, Kismarton, Boldogasszony, Köpcsény, Kábold, Lakompak and Nagy Marton, respectively). Before 1924, Mattersburg was called Mattersdorf. Principal among these closely cooperating communities was Eisenstadt (Kismarton).

[4] Joseph’s maternal grandparents were Isaac [Israel, Isak] Figdor [Avigdor, Vigdor, Victor] (*1768 — †1850), k.k. priv. Großhändler [Imperial and Royal Wholesaler], and Anna Jafé-Schlesinger Figdor (*1770 — †April 12, 1833). Isaac and Anna had ten children: Regine, Karoline, Ferdinand, Fanny, Michael, Nathan, Bernhard, Wilhelm, Eduard, and Samuel. [E. Randol Schoenberg, GENI website: http://www.geni.com/people/Isak-Figdor/6000000008300436213?through=6000000007800493942 accessed 2/14/2011.]

[5] Wool was one of Hungary’s principal articles of commerce and a major source of capital for the Hungarian economy, primarily because it was one of the few export commodities that the Austrian government did not tax. Due to improved farming methods and the introduction of Spanish merino sheep to the region, Hungarian wool was of exceptional quality and highly prized by English woolen manufacturers. Each year, nearly 9 million pounds of wool were offered for sale at the spring trade fair in Pest, most of it bought by German merchants for resale in England. This trade in wool was largely carried on by strategically networked Jewish families, many of whom, like the Figdors, had relatives placed in each of the wool-trading capitals of Europe. The Figdor family connections extended from Pest and Vienna to Leipzig, London, and Leeds. This network of family and business connections was critical to the establishment, guidance, and promotion of Joachim’s musical career, which in its early years, not coincidentally, was centered in those same cities.

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Photo collage © Mathias Brösicke — Dematon, Weimar

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