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Marian Millar: Joseph Joachim (1887)

31 Wednesday Jul 2019

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[From The Quarterly Review, vol. 3 (London: John Heywood, 1887), 178-182.

JOSEPH JOACHIM

JOSEPH JOACHIM, the youngest of seven children, was born on the 28th June, 1831, at Kittsee, an insignificant village near Pressburg. His father was a trader in a small way, who, in spite of strenuous endeavours to better his position, remained a poor man. Our hero had not completed his first year when the family went to settle in Pesth.

The universal experience that no talent shows itself so early as that of music was to be again illustrated in him. A guitar, which was won’t to serve as accompaniment in the vocal practice of his eldest sister, was his pet plaything, until one day his father brought home for him from the fair a child’s fiddle. This now became his inseparable companion, and soon beneath the tiny, active fingers it began to grow vocal and harmonious. Whatever he heard he would afterwards reproduce on his instrument. When boys of his own age were engaged in noisy play around him he would crouch down in some out-of-the-way corner, in perfect happiness, reproducing the melodies which he had picked up from the wandering gypsies, those indefatigable guardians of the rich national treasure of melody. Often had his people to search for him by the hour until distant notes would at length reveal to them his whereabouts.

Thus matters went on until he was six years old, when the boy began to receive instruction. It was his good fortune to find an experienced and conscientious teacher in the Pole, Servaczinski, to whom he owed the attainment of that early and safe “technique” which forms the indispensable basis of every artistic calling, and for the lack of which no after expenditure of pains is able to make up.

Before he was seven years old he had won his first laurels in the concert room. He had gradually exhausted all the musical pabulum provided by his native country, and now it became time to think of transplanting him to some more fertile soil. In Vienna there lived two of his father’s well-to-do brothers, and they promised to look after their nephew’s future. The next thing was to place him under George Hellmesberger’s tuition. This artist, after giving instruction to our hero for almost a year, unexpectedly declared ta the right hand of his pupil was too weak to handle the bow with the necessary energy. Just at that time the famous violinist, Ernst, was celebrating brilliant triumphs the Austrian capital. To him our youthful artist hastened, and told him of his plight, meeting with a kind reception, and receiving not merely consolatory encouragement and stimulating incitement, but,

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what was more to the purpose, actual help. Thanks to the mediation of the virtuoso,  Ernst’s excellent teacher, Bohn, [sic!] received the boy into his own house, in order to be able to give every free moment to him. After three years had gone by there was nothing he could impart to his pupil. The education of the violinist was now complete—that of the artist was yet to begin.

In the thirties and forties of the present century Leipzig was the undisputed centre of German musical life, the focus which both received and dispensed all light and warmth. Vienna, once proud queen in the realm of sound, now found enjoyment and satisfaction but in the sweet siren-songs of voluptuous sensuousness. The same stage for which Gluck, Haydn, Mozart, Beethoven, and Schubert had created so many of their noblest works was now given up to Italian opera, to the fatal star-system of concert-givers, and to the fascinating Strauss waltzes; whilst the might dead rested forgotten in their graves. Wat the present time possessed in the way of musical productive wealth took creative shape in the persons of Mendelssohn and Schumann. To both Leipzig had become a second home. There they wrought by word and by example; there in the newly-erected Conservatorium of Music and in the old renowned Gewandhaus performances (still the pattern of all that is sterling in concert-giving over the whole civilised world) might be traced the fountain-head of all artistic teaching and stimulus. A cousin of Joachim, a lady with whom in early days he had diligently practiced the Beethoven sonatas, had married and settled in Leipzig. She could never say enough of all the musical marvels on the banks of th Pleisse, and every one of her letters was to our artist an alluring call to which his inner voice made lots and ever louder response. At length he could no longer resist. Notwithstanding the opposition of his uncles, he seized his wandering staff and merrily entered the “Reich.”* [*n. “Germany, as distinguished from German Austria]

We know from Mendelssohn’s letters what he was to his younger fellow-artist, what a true friend and indefatigable helper every serious worker ever found in him. In the most sympathetic manner he took up the cause of the thirteen-year-old Hungarian fiddler, whose genuine artistic cachet his keen experienced eye recognised at the first glance. Unremittingly he aided him, by giving both counsel and material help; everywhere his paternal care surrounded him; almost daily in his little “Cherub-faced trombone player,” as he used playfully to call him, must come and “make music” with him. It was he who opened his eyes to

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the spirit of the masters, who allowed him to be eye-witness of his own composing, who watched over and corrected his attempts at composition, and who, under David’s guidance, had him introduced to the style of the school of Spohr. And not only did the musical development of his protégé lie next his heart, but he also took care that the youthful mind should not lack general intellectual culture. Neither in Pesth nor in Vienna had Joachim followed any studies outside those belonging to a strictly musical education—his violin had been everything to him— and he had, in quite a casual way, acquired little more than the three R’s. At Mendelssohn’s bidding, who selected for him suitable teachers, he now worked industriously at Latin, history, German literature, and modern languages. But more yet to him than all these studies was the unbroken personal intercourse with the matter. How zealously he strove in everything to live up to his high model is proved, amongst other things, by the exterior circumstance that his handwriting, even to this day,bears a remarkable resemblance to that of Mendelssohn. Of Mozart and his pupil Süssmayer a similar fact is related.

In the winter of 1844 Joachim was already playing in public at Leipzig and in the next year he followed Mendelssohn to London. That sacred shrine of English concert life, the hall of the Philharmonic Society, whose threshold was sternly guarded by a clause denying entrance to all musical juvenile prodigies opened its doors to Joachim. This, however, was only brought about by the composer of “St. Paul” pledging his word that in the half-fledged youth there really existed a perfect full-blown artist. By his execution of the Beethoven Joachim at that time laid the foundation of his extraordinary popularity in England. Many a London season has since welcomed him as an honoured guest.

After returning to Leipzig he became a member of the Gewandhaus orchestra which was likewise that of the theatre whenever opera was performed. Rich opportunity here was afforded him to get to know the Orchestra as a whole, as well as the nature of each individual instrument. In the autumn of 1849 he went, with the title of “Coneertmeister,” to Weimar, where Liszt reigned supreme, gathering about him the whole of young musical Germany, and striving to recall by the power of sound,
the glory of bygone times. This new sphere of activity did not long enchain our young artist; for so soon as 1851 be obeyed a call to Hanover as chief eonduetor of the Symphony Concerts established there in the course of that winter.

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In 1863 he married Amalie Weiss, at that time prima donna at the Court Theatre, and after the Prusso-Austrian war had swept away the throne of the Guelphs he settled in Berlin. His influence in every direction has not failed to leave its mark upon the musical life of his newly-chosen home, not only in the concert-room, but as the director and principal of the Berlin Hochschule für Musik, a state-subventioned institution.

That he can hold his own against the “powers that be” was proved inter alia by the fracas with the Minister of Instruction and Fine Arts, Von Mühler, who, on his own authority, dismissed one of the teachers of the Academy. Although at that time attention was centred on the Franco-German war, the matter did not pass without exciting considerable comment, and it was even dragged into Parliamentary proceedings, serving as a stalking-horset to the”Progressists.” The result,as is well known, was that the statesman was worsted, and the musician issued as victor from the combat.

Amongst all the virtuosi of the present day Joachim undoubtedly occupies the first place. If it be that the highest attainment of art— the real soul of all music—is to be found in the tone produced,whether from the human voice or from an instrument, then is Joachim facile princeps, for it is the marvellous breadth and perfect beauty of his tone and the wonderful variety of expression which he evolves from his instrument which give the characteristic impress to the playing of our Fiddler-King. In every phase that music can assume—the deep chest note of the G string,the highest of flageolet sounds— in every degree of strength, even in the most powerful fortissimo which carries away the united force of the whole orchestra, he remains dominant, and asserts his inborn supremacy.Hand in hand therewith goes a facility of execution which no difficulties ever succeed in discomposing; the most hazardous passages fall spontaneously from his strings; his intonation being ever pure and clear as a bell, the articulation of each phrase distinct and transparent down to the very smallest detail.

To come to the most essential part of all—this splendid and infallible “technique” remains entirely at the service of a mind ever directed towards the purely ideal in art. Absolute fidelity, simplest veracity, stern adherence to the composer’s intention, are the elements in which Joachim’s execution lives and breathes, and from which it draws all its strength. Nowhere is the countenance of the composer obscured or dimmed by subjective additions on the part of the performer; it is 

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always the essence of the composition which we receive, without deduction or meretricious ornament. How the playeer is entirely merged in the artist becomes apparent in the choice of works with which he appears before the public. No consideration for outside success can ever tempt him to perform one of those well-known mechanical productions solely designed to feed the bravura longings of a vain executant.

The richest and most solid treasures of violin literature lie deposited in the string quartet; and the unremittent cultivation, therefore, of chamber music lies nearest to Joachim’s heart. He is the centre of a society of artists who, season after season, give all music-lovers the opportunity of hearing Haydn’s, Mozart’s, Beethoven’s, Schubert’s, Mendelssohn’s, and Schumann’s works of this class. The largest of Berlin concert- rooms is hardly sufficient for the crowds who flock to these performances, and we cannot but marvel that one of the purest and severest forms of art should be enjoyed to the full and hailed with acclamation, not only by the narrow circle of connoisseurs, but by the great masses of the people— a circumstance little short of a modern miracle in a city which, like all other capitals, is supposed to be largely devoted to materialistic enjoyment.

Joachim is known to us as a composer, more particularly by his Hungarian Concerto; while in the capacity of Director of the Hochschule für Musik in Berlin he is signally successful. This institution is constantly advancing, flourishes in every way, and can point with just pride to its achievements in the field of violin playing. Moreover, on the occasion of a public examination of its students it has “many a time and oft” proved itself to be in possession of an orchestra of stringed instruments of which it would be difficult to find the equal. Thus the life of our great artist is in no sense barren, since the spirit of the master still lives in his disciples, and transmits to posterity a school worthy of the highest traditions of the divine art of Music.

MARIAN MILLAR

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Paul David: Joseph Joachim (1894)

02 Wednesday Dec 2015

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Paul David, “Joseph Joachim,” A Dictionary of Music and Musicians (A.D. 1450-1889), Sir George Grove (ed.), London and New York: Macmillan and Co. 1894, pp. 34-35.

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JOACHIM, Joseph, the greatest of living violin-players, was born at Kittsee, a village near Pressburg, June 28, 1831. He began to play the violin at five years of age, and showing great ability he was soon placed under Szervacsinsky, then leader of the opera-band at Pesth. When only seven years old, he played a duet in public with his master with great success. In 1841 he became a pupil of Boehm in Vienna, and in 1843 went to Leipzig, then, under Mendelssohn’s guidance, at the zenith of its musical reputation. On his arrival at Leipzig as a boy of twelve, he proved himself already an accomplished violinist, and very soon made his first public appearance in a Concert of Madame Viardot’s, Aug. 19, 1843, when he played a Rondo of de Bériot’s; Mendelssohn, who at once recognised and warmly welcomed the boy’s exceptional talent, himself accompanying at the piano. On the 16th of the following November he appeared at the Gewandhaus Concert in Ernst’s fantasia on Otello; and a year later (Nov. 25, 1844) took part in a performance at the Gewandhaus of Maurer’s Concertante for four violins with Ernst, Bazzini and David, all very much his seniors. The wish of his parents, and his own earnest disposition, prevented his entering at once on the career of a virtuoso. For several years Joachim remained at Leipzig, continuing his musical studies under Mendelssohn’s powerful influence, and studying with David most of those classical works for the violin—the Concertos of Mendelssohn, Beethoven and Spohr, Bach’s Solos, etc.—which still constitute the staple of his répertoire. At the same time his general education was carefully attended to, and it may truly be said, that Joachim’s character both as a musician and as a man was developed and directed for life during the years which he spent at Leipzig. He already evinced that thorough uprightness, that firmness of character and earnestness of purpose, and that intense dislike of all that is superficial or untrue in art, which have made him not only an artist of the first rank, but, in a sense, a great moral power in the musical life of our days.

Joachim remained at Leipzig till October 1850, for some time side by side with David as leader of the Gewandhaus orchestra, but also from time to time travelling and playing with ever-increasing success in Germany and England. On the strong recommendation of Mendelssohn he visited London for the first time as early as 1844, and at the 5th Philharmonic Concert (May 27) played Beethoven’s Concerto (for the 4th time only at those concerts) with great success. His first actual public appearance in this country was at a benefit concert of Mr. Bunn’s at Drury Lane on March 28. After this he repeated his visits to England in 1847, 49, 52, 58, 59, 62, and ever since. His annual appearance at the Monday Popular, the Crystal Palace, and other concerts in London and the principal provincial towns has become a regular feature of the musical life in England. His continued success as a solo- and quartet-player, extending now over a period of more than thirty years, is probably without parallel. Since the foundation of the Monday Popular Concerts he has been the principal violinist of those excellent concerts, which have perhaps done more than any other musical institution in England towards popularising that highest branch of the art—classical chamber-music.

In 1849 Joachim accepted the post of Leader of the Grand-Duke’s band at Weimar, where Liszt, who had already abandoned his career as a virtuoso, had settled and was conducting operas and concerts. His stay in Weimar was not however of long duration. To one who had grown up under the influence of Mendelssohn, and in his feeling for music and art in general was much in sympathy with Schumann, the revolutionary tendencies of the Weimar school could have but a passing attraction. In 1854 he accepted the post of Conductor of Concerts and Solo-Violinist to the King of Hanover, which he retained till 1866. During his stay at Hanover (June 10, 1863) he married Amalia Weiss, the celebrated contralto singer [see WEISS] In 1868 he went to Berlin as head of a newly established department of the Royal Academy of Arts—the ‘Hochschule für ausübende Tonkunst’ (High School for Musical Execution,—as distinct from composition, for which there was already a department in existence). Joachim entered heart and soul into the arduous task of organising and starting this new institution, which under his energy and devotion not only soon exhibited its vitality, but in a very few years rivaled, and in some respects even excelled, similar older institutions. Up to this period Joachim had been a teacher mainly by his example, henceforth he is to be surrounded by a host of actual pupils, to whom, with a disinterestedness beyond praise, he imparts the results of his experience, and into whom he instills that spirit of manly and unselfish devotion to art which, in conjunction with his great natural gifts, really contains the secret of his long-continued success. In his present sphere of action Joachim’s beneficent influence, encouraging what is true and earnest, and disregarding, and, if necessary, opposing what is empty, mean, and superficial in music, can hardly be too highly estimated. It will readily be believed that in addition to the universal admiration of the musical world numerous marks of distinction, orders of knighthood from German and other sovereign princes, and honorary degrees have been conferred on Joachim. From the University of Cambridge he received the honorary degree of Doctor of Music on the 8th March, 1877. No artist ever sought less after such things, no artist better deserved them.

As to his style of playing, perhaps nothing more to the point can be said, than that his interpretations of Beethoven’s Concerto and great Quartets and of Bach’s Solo Sonatas are universally recognised as models, and that his style of playing appears especially adapted to render compositions of the purest and most elevated style. A master of technique, surpassed by no one, he now uses his powers of execution exclusively for the interpretation of the best music. If in latter years his strict adherence to this practice and consequent exclusion of all virtuoso pieces has resulted in a certain limitation of répertoire, it must still be granted that that repertoire is after all richer than that of almost any other eminent violinist, comprising as it does the Concertos of Bach, Beethoven, Mendelssohn, four or five of Spohr’s, Viotti’s 22nd, his own Hungarian, Bach’s Solos, the 2 romances of Beethoven, and in addition the whole range of classical chamber-music, to which we may now add the Concerto of Brahms, played for the first time in England at the Crystal Palace Feb. 22, 1879, and given by him at the Philharmonic on March 6 and 20.

Purity of style, without pedantry; fidelity of interpretation combined with a powerful individuality—such are the main characteristics of Joachim the violinist and musician.

As a composer Joachim is essentially a follower of Schumann. Most of his works are of a grave, melancholic character,—all of them, it need hardly be said, are earnest in purpose and aim at the ideal. Undoubtedly his most important and most successful work is the Hungarian Concerto (op. 11), a creation of real grandeur, built up in noble symphonic proportions, which will hold its place in the first rank of masterpieces for the violin. The following is a list of his published compositions:—

 

Op. 1. Andantino and Allegro Scherzoso (Violin and Orchestra).

  1. 3 ‘Stücke (Romanze, Fantaisiestück, Frühlings fantasie)’ for Violin and Piano.
  2. Concerto (G minor) ‘in einem Satze’ for Violin and Orchesta.
  3. Overture to ‘Hamlet,’ for Orchestra.
  4. 3 Stücke (Lindenrauschen, Abendglocken, Ballade) for Violin and Piano
  5. Hebrew Melodies, for Viola and Piano.
  6. Variations on an original Theme for Viola and Piano.
  7. Hungarian Concerto for Violin and Orchestra.
  8. Notturno in A for Violin and small Orchestra.
  9. Overture, in commemoration of Kleist the poet—for Orchestra.
  10. Scena der Marfa (from Schiller’s unfinished play of Demetrius), for Contralto Solo and Orchestra.

Two Marches in C and D, with Trios

N.B. Op. 6, 7, 8, Overtures to Demetrius, Henry the IVth, and a Play of Gozzi’s respectively, are still in MS.

[P.D.]

 

Paul David (1840-1932) was the son of Joseph Joachim’s mentor, the Gewandhaus concertmaster Ferdinand David. In his later years, he was the first Director of Music at the Uppingham School in Uppingham, Rutland, England. Joachim’s last performance of the Beethoven Violin Concerto was at the dedication of the [Paul] David Concert Room at Uppingham School, May 23, 1905.

An Early Biographical Sketch (1856)

21 Tuesday Jan 2014

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The South Australian Advertiser, (Adelaide, SA, Monday, October 31, 1859), p. 3.

The following is one of the earliest published biographical sketches of Joseph Joachim — a translation from the German language Jewish Chronicle and Hebrew Observer, excerpted from Beth-El  by Ignaz Reich. It is clearly based on information that could only have come from Joachim’s family, and is therefore likely reliable, if not exactly dispassionate. It is confusing, however, concerning the date of Joachim’s first trip to England, which was in 1844, not 1843, as reported here. This discrepancy is at present unexplainable.

HERR JOACHIM. — A BIOGRAPHICAL SKETCH.

[From the Jewish Chronicle and Hebrew Observer]

[The following biography has been forwarded by a respected correspondent, with request for publication]

Herr Joachim, the celebrated violinist and composer, has, in a shorter time than any other artist, achieved a European reputation. Young as he is, he deservedly ranks among the highest in the musical world. He is just now again exciting the admiration and receiving the applause of the English metropolis. A sketch of the life, therefore, of this Paganini resuscitated, belonging as he does to the Jewish community, may not be out of place. We condense it from a German publication “Beth-El,” by Ignaz Reich, published at Pest, in 1856, containing the lives of several Jewish Hungarian worthies.

Joseph Joachim is a native of Kitsee, in Hungary. When he was yet a child his parents settled at Pest. Here the musical talent of the child, scarcely five years old, soon showed itself, and had opportunities for development. His sisters receiving instruction in music, the sounds seemed to have had a magical effect upon the boy, and he listened to them with intense and unwearied attention. Soon he begged his father to be permitted to take lessons in music like his sisters. The violin was the instrument chosen for him. The progress which he made in the first month disclosed at once his extraordinary talent. More and more skilful masters had to be engaged for him, and a ray of intellectual satisfaction was often seen to light up his countenance, when, after conquering some extraordinary difficulty, a smile or an applauding nod of his teachers, to whom he clung with filial attachment, rewarded his perseverance, and encouraged him to further efforts. At the age of six, after a study of about one year, he executed in public, before the gentry and nobility of Pest, the variations of Pechatsek; the applause was immense. At the age of eight he was sent to Vienna, where he for three years continued his studies under the greatest musicians. During this period he but rarely played in public; but when he did he excelled all other competitors. The leading papers of the day, in speaking of his performance on January 31, 1842, said, “The palm of the evening is due to a boy of ten years old, Joachim, a pupil of Professor Böhm, who played the variations of Ernst with astonishing excellence. On hearing the playing of this boy, the marvellous skill, the depth of feeling, the plaintive notes, as it were the sorrow of the instrument, and the musically expressed grief, one is led to believe that the whole is a delusion — some charming dream. In this boy we see the ripest fruit of bloom; in him we perceive the accomplished deep-feeling artist.

Towards the end of 1842, at the age of eleven, he went to Leipsic, in order to enter the musical academy. There he played at a private concert, in the house of Mendelssohn Bartholdy. The greatest masters of the art listened in deep emotion to the boy; for a long time the enrapturing sounds of his instrument alone were heard. When he had finished, Mendelssohn solemnly walked up to the violinist, and impressing a kiss on his forehead, enthusiastically called out, “I, myself, was once such a child.” More was not requisite. Joachim’s artistic position was now marked out. Henceforth Mendelssohn proved his most faithful patron, his warmest friend. House and heart of the great master were now alike open to the child. It was Mendelssohn who opposed his entering the musical academy, declaring that he had outgrown this institution, and that he would find there no equal. Mendelssohn himself, as well as David and Hauptmann, gave him private instruction.

In 1843 Herr Joachim undertook his first journey to London. He was provided with influential letters of recommendation, especially on the part of his teacher and friend Mendelssohn. In consequence thereof the boy, of thirteen years old, had the honor of playing at Windsor before the Queen, the Emperor of Russia, the King of Saxony, the Duke of Wellington, and a number of the highest statesmen. The Queen, as a token of her approbation, presented him with a gold watch and chain.

The following is a translation of the letter of introduction which Joachim brought from Mendelssohn to Moscheles: — “Dear Friend — By these lines I present to you a boy who, during the nine months that I have known him, has become truly dear to me, has entwined himself round my heart, and of whom I have conceived such a high opinion (hochachtung), as I entertain but for few with whom I have latterly been in contact. It is Joachim, of Pest, in Hungary, a boy 13 years old, who intends to pay a visit to his uncle residing in London. I cannot sufficiently describe to you his extraordinary marvellous talent in handling the violin. You must hear him yourself to be able to judge of the manner in which he plays all existing solos, and of the ease with which he deciphers everything in notes, how he discerns and knows music — to be able to form an estimate of the results awaiting him in the art, and whereby I am justified to assign him the high rank in which I place him.

“At the same time you will find in him an excellent, sound, well-educated, honourable, and shrewd lad, most intelligent and upright.

“Be therefore attentive to him, and befriend him in this great metropolis of the world. Present him to such of our acquaintances as know how to appreciate such a bright phenomenon, and who on their part may afford him assistance and stimulate his development. In this I principally bear in mind our friend Horsley. Introduce him also, if convenient, to Chaliers. In general, whatever you do for the boy you do for myself. Expecting to see you soon, God willing, I am, &c.,

“MENDELSSOHN.”

Moscheles endeavoured with all his heart to comply with the wish of his friend. Through him Joachim soon became acquainted with all the musical celebrities of London. Here he made the acquaintance of Ernst, Sivori, Lablache, and also, if we are not mistaken, of Schuhmann [sic], with whom he soon became befriended. After a sojourn of three months in London, he returned to his quiet Liepsic [sic] as an artist of note. Here again he devoted himself with the greatest zeal to his studies, as though he had never quitted that town. How little he was spoiled by the extraordinary applause which his performances met in the great English metropolis is evident from the following extract from the letter which the feeling lad, soon after his return, addressed to his parents: — “I continue my lessons with Herr Hauptmann. My German master believes that he will in a fortnight be able to instruct me again. I hope in the course of this winter to make considerable progress in music and other branches of study. I rise every day at six o’clock in the morning, when I study Latin, classics, or some other useful work, until breakfast. The whole forenoon afterwards I devote exclusively to music, the violin in particular, composition, and the necessary practice in thorough bass. At half-past two in the afternoon I recommence working, writing till four o’clock: from then till eight I play pianoforte; then, having taken a walk and supped, I again study music until nine o’clock. Sometimes I commit to memory passages from our splendid Schiller, whilst also composing a concert and diligently practicing music.”

For a whole year he now devoted himself to study, before he appeared the second time before the public. In 1844 he went again to London, where he played at one of the Philharmonic concerts, although by the rules of the society no artist under 20 was admitted to any performance there. The leading papers were loud in their praise of the young violinist. In 1847 he went to Paris. The reception with which he was met by the French musical world was not less enthusiastic than that accorded to him in England. He then returned to England, and on the invitation of the principal provincial towns, visited them. He now returned to his quiet Leipsic, where he, for seven consecutive years, incessantly applied himself to the cultivation of art and science. He had the gratification of being appointed professor in that very academy which a few years before he was to enter as a pupil. But now an event happened which for a time seemed entirely to prostrate him. On the 5th November, 1847, the following letter was received from him in Pest: —

“Dearest and Good Parents — Prepare yourself to hear from me something unspeakingly sad and terrible. God Almighty yesterday visited me with a great calamity. All my joy, all my hopes, all, all was blighted — yesterday, at nine o’clock in the evening — Mendelssohn is dead! A world of grief lies in these three words. Alas, it is but too true — dead, dead, dead! It is impossible for me to think of anything else, or to listen to a sound of music. Mendelssohn had been unwell for some time; yesterday a week he got worse, and a fit of apoplexy supervened. There was, nevertheless, hope until the day before yesterday, when at two o’clock he had a renewed severe fit, and he became worse. Last evening a rattling in the throat commenced, gradually his strength failed him, and at a few minutes after nine o’clock he passed over into a better world, calm like an angel.

“the thoughts of you and other dear persons at Pest is the only thing that keeps me up;  but I am very unhappy, and shall never be cheerful again. You may easily imagine, my dear parents, how pleased I should be with a few lines from you, and I fervently trust that I shall see your handwriting.— Yours, disconsolate,

“JOSEPH.

This melancholy occurrence had indeed produced a deep and lasting impression upon Joachim’s mind. The sounds which he henceforth elicited from his instrument became more solemn, more august; a profound melancholy pervaded them. It is as though we heard in them the whispers of blissful departed spirits. Henceforth his youthfulness quickly matured into manly earnest, and composing now became his favourite occupation.

In 1851, induced by Lisst [sic], he resigned his teachership at Leipsic, and accepted the office of court concert-master from the Grand Duke of Weimar. Lisst, in writing to a friend, alludes in the following terms to his meeting with Joachim: “I lately had a very agreeable visit, which contributed not a little to restore my health. The visitor was Joachim, whom you probably remember. You know that I succeeded in carrying him off from Leipsic, and to draw him to Weimar, where he officiates as concert-master. He is an artist through and through, his execution is vigorous and splendid, and I believe I am not mistaken when I add that in four or five years — he is not yet 20 year old — he will excel all violinists in Europe. To form an idea of his consummate mastery one must hear him play Bach, Beethoven, or Paganini. The full vigorous sound, the depth of his style, the tenderness in the details, the fire, life, and soul of music — everything is blended there on a large scale to perfection; yet more, he exhibits the character of a true, loyal, and exceedingly modest artist.”

However, he only remained one year at Weimar; in 1852 he accepted a similar appointment from the King of Hanover.

Among his principal works we notice his “Hebraeische Lieder,” to which Lord Byron’s “Hebrew Songs” had given him the impulse. Herr Joachim is at this moment in London; and we all known [sic] how the musical world has received his performance.