Joseph Joachim

from Wikipedia, the free encyclopedia
Joseph Joachim
Joseph Joachim's birthplace in Kittsee (2006)
Joseph Joachim and his wife Amalie in Hanover, winter 1863/64
The Villa Joachim, design drawing by the architect Richard Lucae , 1871

Joseph Georg Maria Joachim (born June 28, 1831 in the former Hungarian Kittsee near Pressburg , since 1921 Burgenland , †  August 15, 1907 in Berlin ) was an Austro-Hungarian violinist , conductor and composer . He was considered one of the most important violinists of his time. His nephew is the British philosopher Harold H. Joachim . The German actress Katharina Thalbach (real name Katharina Joachim Thalbach ) is related to him.

Life

Joseph Joachim was the seventh child of the Jewish wool merchant Julius Joachim (born around 1791, died 1865 in Pest ) and Fanny Figdor (born around 1791, died 1867 in Vienna), daughter of the Viennese wholesaler Isak Figdor , in Kittsee im Burgenland born. Kittsee belonged to the seven communities and was then owned by the Hungarian Esterházy family . Joachim's family was not wealthy, but widely ramified and related, among other things, to the wealthy Wittgensteins in Vienna. In 1833 the family moved to Pest.

Although Joachim did not come from any musical family, his talent was discovered early by Stanislaus Serwaczynski and continuously promoted. He described the boy as a violin- playing child prodigy who performed as a violin soloist at the age of seven. Felix Mendelssohn Bartholdy promoted the exceptional talent early on . From 1838 Joachim attended the Conservatory of the Gesellschaft der Musikfreunde in Vienna with Joseph Böhm (1795–1876) and continued his education from 1843 to 1849 at the Leipzig Conservatory . He was advised by u. a. Ferdinand David and Moritz Hauptmann . In 1844 he performed Beethoven's decade-long forgotten Violin Concerto in D major op. 61 in London under Mendelssohn's direction, whereupon the work became a permanent fixture in the concert repertoire. From 1848 to 1850 he was a member of the Gewandhaus Orchestra . After Mendelssohn's death in 1847, Joseph Joachim went in search of a new role model and traveled to Franz Liszt in Weimar, who was impressed by his violin playing and encouraged him to compose. He also made friends with the composer Joseph Joachim Raff , who was working closely with Liszt at the time, was inspired by his music and immediately wrote a virtuoso violin fantasy about Raff's opera King Alfred . The duo was referred to as Raff and his first name by outsiders .

In 1849, in Weimar, Joseph Joachim met Gisela von Arnim , who was friends with Herman Grimm . A love relationship that was sometimes very painful for all three participants developed, which only came to an end with Gisela von Arnim's marriage to Herman Grimm in 1859.

From January 1, 1853, Joseph Joachim was royal concertmaster in Hanover and held this position until 1866. In March 1853 he met Clara Schumann , Robert Schumann and, through them, Johannes Brahms , whom he later advised on numerous works, including his Violin Concerto in D major op.77 . Even Max Bruch turned to him when he moved to the premiere of his Violin Concerto no. 1 in G minor, revised op. 26 in 1866 the piece. For the final version he took up suggestions from Joachim; it was premiered in 1868 with Joachim as a soloist and dedicated to him out of gratitude.

On May 3, 1855, Joachim took an important step for himself by being baptized Lutheran in the Aegidia Church. A name change was not necessary as Joseph is considered to be both a Jewish and a Christian first name. But he also took the names Georg and Maria after his two godparents, King George V of Hanover and Queen Marie . A few days earlier he wrote to Herman Grimm that the baptism would "take place in silence in a rather romantic way."

On June 10, 1863, he married the opera singer Amalie Schneeweiss in the Kreuzkirche in Hanover . The couple had three daughters and three sons, including Johannes Joachim (* 1864), Hermann Joachim (* 1866), Marie Joachim (1868–1918), Josefa Joachim and Elisabeth Joachim. In 1868 the family moved to Berlin. In 1869, King Wilhelm I of Prussia appointed him the founding rector of the Royal Academic University for Performing Music , which later became the Berlin University of Music . The university had a decisive influence on his educational work.

At the same time, Joachim was one of the most influential musicians of his time, who decisively determined musical life in the Second German Empire. His students included Hans Weisbach , Bronisław Huberman , Arnold Schering , Will Marion Cook , Willy Hess , Maud Powell , Marie Soldat-Röger , Bram Eldering , Paul Elgers , Karl Klingler , Willem Kes , Leopold Auer , Carl Halir , Hugo Heermann , Otto Wolf and Willy Burmester . He considered Max Brode to be his best student .

The Joachim Quartet in 1884; left Heinrich de Ahna , above Robert Hausmann , right Emanuel Wirth , below Joseph Joachim
Joachim Quartet with (from left to right): Robert Hausmann, Joseph Joachim, Emanuel Wirth and Carl Halir. Image: Ferdinand Schmutzer

In addition to his university activities, Joachim considered his quartet evenings to be particularly important, with which he deliberately wanted to create a counterpart to Wagner's music events. The Joachim Quartet, founded after 1879 and named after him (with Heinrich de Ahna - from 1897 with Carl Halir -, second violin, Emanuel Wirth , viola and Robert Hausmann , cello) became one of the main representatives of German musical culture at the end of the 19th century .

The Joachim family lived in Berlin-Tiergarten , initially in the tents 8. From 1870, Joachim had a stately villa built by the Berlin architect Richard Lucae , the Villa Joachim , which was located at Beethovenstrasse 3 and was occupied in April 1874. The Beethovenstraße ran as a very short connection between the Kronprinzenufer (today Bettina-von-Arnim-Ufer) and In den Zelten to the west of today's House of World Cultures .

In 1895, Joseph Joachim and Brahms took part in the celebration of the opening of the New Tonhalle in Zurich .

His pathological jealousy led to his divorce from his wife Amalie in 1884 . He had accused her of adultery, but even his friends Johannes Brahms and Max Bruch sided with the wife. The divorce was preceded by a grueling “war of the roses” lasting several years.

Although Joachim had been baptized as a Protestant in 1855, he - like many others - had to experience that he was nevertheless perceived as a Jew by certain sections of society . During his time in Berlin there were increasing anti-Semitic attacks on the part of Wagnerians (including the conductor Hans von Bülow ) and the court preacher Adolf Stoecker , while the Prussian court stood by him.

Death and grave

Honorary grave of Joseph Joachim in Berlin-Westend , left the grave of Amalie Joachim (2010); the honorary grave markings still refer to both graves

During a tour of the Joachim Quartet to Vienna and Budapest in March 1907, Joseph Joachim developed a flu infection that developed into bronchial catarrh, of which he died on August 15, 1907 at the age of 76 in Berlin. He made his last appearances as a musician at the end of May at the celebrations for the inauguration of the Bach House in Eisenach .

The funeral service took place on August 19, 1907 in the vestibule of the University of Music. The architect Karl von Großheim and the painter Julius Senft took over the decoration of the room and coffin, which took a lot of effort . Then the coffin was taken in a large funeral procession to the Kaiser Wilhelm Memorial Cemetery on Fürstenbrunner Weg in Westend , where Joachim and his divorced wife Amalie nee. Schneeweiss (1839–1899) was buried. The university honored the deceased on November 3, 1907 with another funeral service in their concert hall, at which Max Bruch spoke the memorial words. Otto Lessing had created a bust of Joachim especially for the occasion .

By decision of the Berlin Senate , the last resting place of Joseph Joachim (grave site D grid below 2b) has been dedicated as an honorary grave of the State of Berlin since 1958 . The dedication was last extended in 2016 for the usual period of twenty years. The separate dedication of Amalie Joachim's final resting place as an honorary grave, also made in 1958, expired in 2015.

Instruments

Joachim's first instrument at public appearances was a Guarneri, not a Guarneri del Gesù , as previously assumed, but a Guarneri Filius Andreae from 1703, which he no longer played when he got his first Stradivarius in 1850. He gave it to Felix Schumann in 1867 , and later it was owned by the violinist Marie Soldat-Röger .

In the course of his career Joachim played or owned a number of famous Stradivarius instruments: “Korschak” (1698), “Jupiter” (1700), “Morgan” (1708), “Knoop” (1714), “de Barrau” (1715) ), "Crémonais" (1715), "Lipinski" (1715), "Laurie" (1722), "Arbos" (1723), "Chaconne" (1725), "Benny" (1729), "Tom Taylor" (1732 ). The "Hochstein" (1715) was later owned by Franz Kneisel and then by Jascha Heifetz . The "Elman" (1722) seems to have already heard from Mischa Elman .

Joachim played a violin by Antonio Stradivari from 1714 ("ex-Joachim") as the main instrument . He also owned four other violins by this violin maker (1714 “Dolphin”, 1715 “ex-Alard / Baron Knoop”, 1722 “Laurie” and 1725 “Chaconne / Hammig”) and a violin by GB Guadagnini from 1752 (“ex- Kneisel ") and 1767 (" ex-Sennhauser / Joachim ").

Appreciations

Street sign of Joachimstrasse in Hanover with legend
Joseph-Joachim postage stamp for the anniversary of the Berlin University of Music
  • In 1892, a street in Hanover that was built around 1845 as part of the street Am Bahnhofe was renamed Joachimstraße in honor of the composer (which was renamed Thielenstraße during the Nazi era from 1935 to 1945 ).
  • On March 17, 1909, the former Auerbachstraße in the Berlin district of Grunewald was renamed Joseph-Joachim-Straße. Since the artist's name, work and achievements were hushed up during the Nazi era, this street was renamed Oberhaardter Weg on March 20, 1939 . This name was retained after the war.
    • In 1967, Joseph-Joachim-Platz (excluding residents) was dedicated in the vicinity and a memorial plaque was erected.
  • In 1911 a bust modeled by the sculptor Adolf von Hildebrand was set up in a wall niche in the great hall of the University of Music , but was removed in 1936.
  • On September 12, 1969, the Deutsche Bundespost Berlin issued a 30-pfennig special postage stamp to mark the 100th anniversary of the Hochschule für Musik Berlin , showing Joseph Joachim playing the violin on a drawing by Adolph von Menzel (Michel no. 347).
  • In June 1981, a second cast of the original bust removed from the university by the National Socialists in March 1936 and an accompanying brass plaque for Joseph Joachim was unveiled in the foyer of the Berlin University of the Arts.
  • In 1991, the Lower Saxony Foundation launched the Joseph Joachim International Violin Competition , dedicated to Joachim.
  • In 1993, the Liszt School of Music Weimar organized the first International Joseph Joachim Chamber Music Competition named after Joachim , which has been held every three years since then.
  • On the occasion of the 150th anniversary of the music academy in Berlin , the UdK Berlin hosted a concert on May 11, 2019 in the series of events # crescendo19 under the motto Homage to Joseph Joachim in the Joseph-Joachim concert hall of the university. The concert was accompanied by a conversation between Susanne Fontaine and the anti-Semitism researcher Uffa Jensen .

Awards

Works

Canon in Allegretto, Joseph Joachim (1892)
  • Op. 1 Andantino and Allegro scherzoso for violin and orchestra in B flat major - Leipzig: Kistner, July 1849
  • Op. 2 Three pieces for violin and piano ( Romance , Fantasiestück , Eine Frühlingfantasie ) - Leipzig: Breitkopf & Härtel, September 1852
  • Op. 3 Violin Concerto No. 1 in G minor , in one movement, dedicated to Franz Liszt - Leipzig: Breitkopf & Härtel, December 1854 - First performance on October 3, 1853 in Karlsruhe under the direction of Franz Liszt
  • Op. 4 Overture to William Shakespeare's Hamlet - Leipzig: Breitkopf & Härtel, December 1854 - first performance on October 27, 1853 in Düsseldorf under the direction of Robert Schumann (first rehearsal in May 1853 in Weimar)
  • Op. 5 Three pieces for violin and piano ( linden rush , evening bells , ballad ) - Leipzig: Breitkopf & Härtel, July 1854
  • Op. 6 Overture to Herman Grimm's Demetrius - first performance on April 21, 1855 in Kassel under the direction of Louis Spohr
    • Arranged for two pianos by Johannes Brahms
  • Op. 7 Overture to William Shakespeare's Heinrich IV. - First performance on March 24, 1855 in Hanover
    • Arranged for two pianos by Johannes Brahms
  • Op. 8 Overture to a comedy by Carlo Gozzi
  • Op. 9 Hebrew melodies for viola and piano
  • Op. 10 variations on an own theme for viola and piano (1855)
  • Op. 11 Violin Concerto No. 2 in D minor “in a Hungarian way” (1860) - first performance on March 24, 1860 in Hanover
  • Op. 12 Nocturno for violin and orchestra (or piano)
  • Op. 13 Overture “In Memoriam Heinrich von Kleist ” - First performance on March 14, 1857 in Hanover
  • Op. 14 Scene of Marfa from Friedrich Schiller's unfinished drama Demetrius for mezzo-soprano and orchestra (1878)
  • without op. Violin Concerto No. 3 in G major (1864) - first performance on June 27, 1864 in London under the direction of William Sterndale Bennett - German first performance on November 5, 1864 in Hanover - printed in 1889 (“In memory of Frau Gisela Grimm , born von Arnim dedicated ")
  • without op. Symphony in C major , free orchestral version of Franz Schubert's Grand Duo for piano four hands (1855) - first performance on February 9, 1856 in Hanover. Cranz, Hamburg undated; Simrock, Berlin 1873; Spina, Vienna October 1873
  • Joseph Joachim, Andreas Moser (Ed.): Violin School . 3 volumes: Simrock, Berlin 1905; Volume 1 ; Volume 2 ; Volume 3

See also

literature

  • Constantin von Wurzbach : Joachim, Joseph . In: Biographisches Lexikon des Kaiserthums Oesterreich . 10th part. Kaiserlich-Königliche Hof- und Staatsdruckerei, Vienna 1863, pp. 217–220 ( digitized version ).
  • Wilhelm von Lenz : Josef Joachim in Petersburg . Position of the artist in Russia . In: Neue Berliner Musikzeitung , vol. 26, no. 29 of July 17, 1872, p. 228 and no. 30 of July 24, 1872, p. 233 f.
  • Andreas Moser : Joseph Joachim: a picture of life . New redesigned and exp. Edition, 2 volumes. Brahms Society, Berlin 1908–1910 archive.org
  • Eduard Hanslick , Josef Joachim and his 50th anniversary as an artist (1889.) . In: ders., Musical and literary matters. (The “Modern Opera” V. Part.) Reviews and descriptions , Berlin 1889, pp. 159–170
  • Adolph Kohut , Josef Joachim. A picture of life and an artist. Commemorative publication for his 60th birthday on June 28, 1891 . Glass, Berlin 1891
  • Johannes Joachim (Ed.): Joseph Joachim's letters to Gisela von Arnim. 1852–1859 , Göttingen 1911
  • Andreas Moser (Ed.): Johannes Brahms in correspondence with Joseph Joachim , reprint of the 3rd edition, Brahms Society, Berlin 1921
    • Part 1; 3rd, through and presumably edition 1921
    • Volume 2; 2., through and presumably edition 1912
  • Werner Bollert:  Joachim, Joseph. In: New German Biography (NDB). Volume 10, Duncker & Humblot, Berlin 1974, ISBN 3-428-00191-5 , p. 440 f. ( Digitized version ).
  • Ferdinand Pfohl, Joseph Joachim and Richard Wagner . To the story of a friendship . In: Die Musik , Vol. 20, No. 9 (June 1928), pp. 645–652
  • Artur Holde , Suppressed Passages in the Brahms-Joachim Correspondence Published for the First Time . In: The Musical Quarterly , vol. 45 (1959), pp. 312-324
  • Heinrich Sievers : Joseph Joachim , in: Life and fate. For the inauguration of the synagogue in Hanover , with photos by Hermann Friedrich a. a., publisher: Landeshauptstadt Hannover, press office, in cooperation with the Jewish community Hannover e. V., Hannover: [Beeck in commission], [1963], pp. 79-88
  • Günter Weiß-Aigner: composer and violinist. Joseph Joachim's collaboration on the Violin Concerto by Johannes Brahms . In: Neue Zeitschrift für Musik , vol. 135, issue 4/1974, pp. 232–236
  • Wolfgang Ebert: Brahms and Joachim in Transylvania . In: Othmar Wessely (Hrsg.), Studien zur Musikwissenschaft, Tutzing 1991, pp. 185–204 (= supplements to the monuments of musical art in Austria , volume 40)
  • Peter Jost : Inconvenient - Change! Lighter! Brahms' collaboration with the soloists in his concerts . In: Renate Ulm (Ed.), Johannes Brahms - The symphonic work. Origin, interpretation, effect . Kassel 1996, pp. 179-184
  • Brigitte Massin: Les Joachim. Une famille de musiciens . Fayard, Paris 1999, ISBN 2-213-60418-5
  • Beatrix Borchard : voice and violin: Amalie and Joseph Joachim - woman and man. Biography and history of interpretation . Böhlau, Vienna 2005. (2nd edition 2007, ISBN 978-3-205-77629-1 ) (= Viennese publications on music history , volume 5)
  • Hans-Rainer Jung and Claudius Böhm: The Gewandhaus Orchestra. Its members and its history since 1743 . Faber & Faber, Leipzig 2006, ISBN 3-936618-86-0 , p. 106
  • Michele Calella , Christian Glanz (ed.): Joseph Joachim (1831–1907) - European citizen, composer, virtuoso . Mille-Tre-Verlag, Vienna 2008
  • Frigge-Marie Friedrich: Joseph Joachim, the master of the violin, novel-biography. 2008, ISBN 978-3-938754-12-2
  • Otto Biba: "Your respectful, grateful student Peppi". Joseph Joachim's youth in the mirror of previously unpublished letters . In: Die Tonkunst , Vol. 1, No. 3, July 2007, pp. 200–204
  • Beatrix Borchard: Big-male-German? On the role of Joseph Joachim for German musical life in the Wilhelmine era . In: Die Tonkunst , Vol. 1, No. 3, July 2007, pp. 218–231
  • Dietmar Schenk: From an early days: Joseph Joachim, the Berlin University of Music and the Franco-German War . In: Die Tonkunst , Vol. 1, No. 3, July 2007, pp. 232–246.
  • Ute Bär: You know how much I like to music with you, myself in public! Clara Schumann and Joseph Joachim . In: Die Tonkunst , Vol. 1, No. 3, July 2007, pp. 247-257
  • Gerhard Winkler (Hrsg.): Violin playing art: Joseph Joachim and the "true" progress. In: Burgenland homeland sheets . Volume 69, No. 2, Eisenstadt 2007, pp. 59–124, PDF on ZOBODAT
  • Robert W. Eshbach: The violinist: Joseph Joachim as performer . In: Die Tonkunst , Vol. 1, No. 3, July 2007, pp. 205–217
  • Robert W. Eshbach: Dear friend! Dear child! Dearest Jo! My only light. Intimate letters in Brahms's Circle of Friends . In: Die Tonkunst , vol. 2, no. April 2, 2008, 178-193
  • Robert W. Eshbach: Joachim's youth . In: Die Tonkunst , Vol. 5, No. 2 from April 2011, 176–190
  • Robert W. Eshbach: Joachim's Youth - Joachim's Jewishness . In: The Musical Quarterly , vol. 94, no. 4, winter 2011, pp. 548-592
  • Ruprecht Kamlah: Joseph Joachim's Guarneri violins, An investigation with regard to the Wittgenstein family . In: Wiener Geschichtsblätter , 2013, issue 1, p. 33
  • Ruprecht Kamlah: Joseph Joachim's violins, their stories and players, especially the collector Wilhelm Kux , 2nd edition Erlangen 2018, ISBN 978-3-7896-1023-3 , 230 pages.
  • Katharina Uhde: Rediscovering Joseph Joachim's 'Hungarian' and 'Irish' ['Scottish'] fantasias . In: The Musical Times , vol. 158, no. 1941 (winter 2017), pp. 75–99
  • Klaus Martin Kopitz (ed.): Robert and Clara Schumann's correspondence with Joseph Joachim and his family , 2 volumes (=  Schumann-Briefedition , Series II, Volume 2.1 and 2.2), Cologne: Dohr, 2019, ISBN 978-3-86846- 013-1

Web links

Commons : Joseph Joachim  - Collection of pictures, videos and audio files

Individual evidence

  1. ↑ The full name is given at Joseph Joachim's wedding, cf. Hannover, Landeskirchliches Archiv, weddings Hannover-Schloss 1853–1865, p. 41 No. 5
  2. ↑ Katharina Thalbach in an interview. ( Memento from July 25, 2014 in the Internet Archive ) In: Gewandhaus-Magazin , issue No. 78. Gewandhaus Leipzig
  3. ^ Article about Joachim Raff (PDF) SWR2, May 10, 2017
  4. ↑ See Borchard (2007), p. 101.
  5. ↑ Letters from and to Joseph Joachim , ed. by Johannes Joachim and Andreas Moser, Volume 1, Berlin 1911, p. 280
  6. ↑ Jan Brachmann: The masterpiece maker . In: Berliner Zeitung , August 15, 2007.
  7. ↑ In 1910 the villa was temporarily used by the Prince von Hatzfeldt as a Palais de ville ; In 1919 Magnus Hirschfeld and his colleague Arthur Kronfeld opened the first institute for sexology here .
  8. ↑ From Joachim's last lifetime . In: Berliner Volks-Zeitung , August 16, 1907, morning edition, p. 2.
  9. ↑ The funeral service for Joseph Joachim . In: Berliner Volks-Zeitung , August 20, 1907, morning edition, pp. 2–3.
  10. ↑ Funeral service for Josef Joachim . In: Berliner Tageblatt , November 4, 1907, p. 2.
  11. ↑ Senate Department for the Environment, Transport and Climate Protection: Honorary Graves of the State of Berlin (as of November 2018) . (PDF, 413 kB), p. 40 (accessed March 23, 2019). Recognition and further preservation of graves as honor graves of the state of Berlin . (PDF, 205 kB). Berlin House of Representatives, printed matter 17/3105 of July 13, 2016, p. 1 and Annex 2, p. 1 (accessed March 23, 2019).
  12. ↑ Ruprecht Kamlah, Joseph Joachim's Guarneri violins. An investigation with regard to the Wittgenstein family . In: Wiener Geschichtsblätter , vol. 68 (2013), issue 1, pp. 33–57, wordpress.com (PDF)
  13. ^ Helmut Zimmermann : Joachimstrasse . In: The street names of the state capital Hanover . Hahnsche Buchhandlung, Hannover 1992, ISBN 3-7752-6120-6 , p. 132
  14. ^ Joseph-Joachim-Strasse . In: Street name lexicon of the Luisenstädtischer Bildungsverein
  15. ↑ Oberhaardter Weg. In: Street name lexicon of the Luisenstädtischer Bildungsverein (near  Kaupert )
  16. ^ Joseph-Joachim-Platz. In: Street name lexicon of the Luisenstädtischer Bildungsverein (near  Kaupert )
  17. ^ International Joseph Joachim Chamber Music Competition of the Liszt School of Music Weimar . ( Memento from August 3, 2008 in the Internet Archive )
  18. ^ Franz Rudolf Zankl : Medal of Honor for Art and Science . In: Hanover Archive , sheet K 34
  19. ↑ bonn.de (PDF)
  20. ^ "Hoplit" [Richard Pohl], The Karlsruhe Music Festival in October 1853 , Leipzig 1853, p. 14f. ( Digitized version )
  21. ↑ Letters from and to Joseph Joachim , ed. by Johannes Joachim and Andreas Moser, Volume 1, Berlin 1911, p. 282
  22. ^ Georg Fischer , Musik in Hannover , Hannover 1903, p. 236, Textarchiv - Internet Archive
  23. ^ Georg Fischer: Musik in Hannover , Hannover 1903, p. 246, Textarchiv - Internet Archive
  24. ^ Georg Fischer, Musik in Hannover , Hannover 1903, p. 246, Textarchiv - Internet Archive
  25. ↑ Myles Birket Foster, History of the Philharmonic Society of London 1813-1912: A Record of a Hundred Years' Work in the Cause of Music , London 1912, digitized archive.org
  26. ^ Georg Fischer, Musik in Hannover , Hannover 1903, p. 236, Textarchiv - Internet Archive
personal data
SURNAME Joachim, Joseph
ALTERNATIVE NAMES Joachim, Joseph Georg Maria
BRIEF DESCRIPTION Austrian-German violinist, conductor and composer
DATE OF BIRTH June 28, 1831
PLACE OF BIRTH Kittsee , Köpcsény near Pressburg
DATE OF DEATH August 15, 1907
Place of death Berlin