Joseph Joachim Letters
Catalog of the Brahms-Institut an der Musikhochschule Lübeck
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24 Thursday Dec 2015
Joseph Joachim Letters
Catalog of the Brahms-Institut an der Musikhochschule Lübeck
To search, click here
08 Sunday Feb 2015
Posted Links
inDownload Link: Katharina Bozena Croissant Uhde, Psychologische Musik, Joseph Joachim, and the Search for a New Music Aesthetic in the 1850s, PhD diss., Duke University, 2014.
Author Link: http://www.valpo.edu/music/about/faculty/uhde/
Exploring two main lines of inquiry, this dissertation investigates the style and aesthetic of the music of Joseph Joachim (1831-1907) and its references to composers such as Brahms, Liszt, Schumann, and Beethoven. First, rather than simply accepting the image of Joachim as the great nineteenth-century violinist and collaborator of Johannes Brahms who advocated the “canonization of the music of Bach, Beethoven, and Brahms,” I ask who Joachim was in light of his own compositions and literary circle. Especially significant was his “soul mate” Gisela von Arnim (daughter of Bettine von Arnim), from the second generation of two major literary “institutions” – the Grimm brothers and Arnim/Brentano, the Des Knaben Wunderhorn-collectors. Joachim and Gisela’s literary role-play throws light on her function as his inspiration and muse. Second, each chapter investigates Joachim’s works as “psychological music,” the term he himself applied. Given that psychology was not yet an established academic discipline in the 1850s, Joachim’s use of “psychological” is all the more intriguing.
Sources including archival letters, manuscripts, and Joachim’s published correspondence, as well as his compositions from (or begun) in the 1850s, reveal that “psychological music” was both a compositional approach and an aesthetic. Extensively using ciphers, anagrams, song quotations, literary titles and allusions, and occasionally melodramatic elements, Joachim’s compositional aesthetic conflicted with his “absolute” aesthetic as a violinist in the later 19th century.
Joachim’s relatively strict use of form, his idiosyncratic use of “motivic transformation,” and his expressive studies of literary/historical characters in his overtures separated him from Liszt. Furthermore, while Joachim navigated harmony in ways criticized by Louis Spohr and contemporary critics as “ear-tearing harshness” (1852), the composer maintained an almost consistently symmetrical (“four-square”) syntax. Joachim’s “psychological” aesthetic was typified by idiosyncratic, individual stylistic features like “trapped motives,” captured by (sometimes obsessive) repetition, and he applied ciphers much more conspicuously than did Schumann. In the end, Joachim’s “psychological music” displays three overarching features: first, extramusical programs from autobiographical and/or literary contexts; second, the implicit or explicit dedication of the works to Gisela von Arnim; and third, supporting correspondence marking the work as an “outlet” for Joachim’s self-perceived, psychological inner turmoil.
12 Sunday Oct 2014
A collection of programs from 1881-1907 including many from the Joachim Quartet concerts at the Berlin Singakademie, the program from Joachim’s 60th anniversary concert, and programs from Amalie Joachim’s historic song recitals.
A Collection of Programs, 1881-1907 PDF
02 Sunday Feb 2014
F. A. E. — Sonata by Albert Dietrich, Robert Schumann, and Johannes Brahms (1853)
Collection of the Staatsbibliothek zu Berlin
Complete holograph manuscript viewable online at:
http://digital.staatsbibliothek-berlin.de/dms/werkansicht/?PPN=PPN665783116&PHYSID=PHYS_0001
15 Saturday Jun 2013
Posted Links
inLINKS
Amalie Joachim
Archives
Leo Baeck Institute Center for Jewish History
Brahms-Institut an der Musikhochschule Lübeck
Staats- und Universitätsbibliothek Hamburg
Articles
Clive Brown, “Joseph Joachim as Editor”
David Schoenbaum, “Another Ovation for Joachim (Who?),” New York Times, August 12, 2007.
Peter Sheppard Skaerved, “Dickens and Joachim, A ‘Freak’ on the Violin
Biographies
J. A. Fuller Maitland, Joseph Joachim, London & New York: John Lane, 1905.
Andreas Moser, Joseph Joachim. Ein Lebensbild, Berlin: B. Behr’s Verlag (E. Bock), 1898.
Andreas Moser, Joseph Joachim. Ein Lebensbild. Berlin: B. Behr’s Verlag, 1904
Blogs
Sanna Pederson’s Blog, Chamber Music in Berlin, 1870-1910, is an original, creative, and informative look at many of Joachim’s most important achievements. Her website on the Joachim String Quartet is an indispensable source of fascinating and valuable information.
Dissertations
Katharina Bozena Croissant Uhde, Psychologische Musik, Joseph Joachim, and the Search for a New Music Aesthetic in the 1850s, PhD diss., Duke University, 2014.
Iconography
Julia Margaret Cameron: Herr Joachim, 1868 (Metropolitan Museum of Art)
Julia Margaret Cameron: Herr Joseph Joachim, 1868
Julia Margaret Cameron, Joseph Joachim, 1868
George Frederick Watts (1817-1904): A Lamplight Study: Herr Joachim, 1868 (Art Institute of Chicago)
Ephemera
A collection of Programs, 1881-1907
Letters
Print:
Nora Bickley (ed.), Letters from and to Joseph Joachim, London: Macmillan, 1914.
Archives:
Catalog of the Brahms-Institut an der Musikhochschule Lübeck
Letters to Joseph Joachim (Kalliope Listing of Joachim’s Briefnachlass)
Letters from Joseph Joachim (Kalliope Listing of Joachim’s Briefnachlass)
Works
Joseph Joachim and Andreas Moser, Violinschule, N. Simrock, 1905
Includes: