Joseph Joachim


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Joachim, Joseph

 

Born June 28, 1831, in Kittsee, near Pressburg; died Aug. 15, 1907, in Berlin. Hungarian violinist, composer, and teacher.

Joachim studied under J. Böhm and F. David. His concert career began when he was seven years old. From 1849 to 1853 he was concertmaster of the court orchestra in Weimar. From 1853 to 1866 he was concertmaster (from 1859 director) of the orchestra in Hanover. In 1868 he became the director and a professor at the Higher School of Music in Berlin. Among his pupils were L.S. Auer, W. Burmester, and B. Huberman. In 1869, Joachim founded a string quartet. He toured in England, France, Austria, and Russia (for the first time in 1872). He was an outstanding interpreter of classical music. Joachim’s skill as a performer began a new epoch for the art of the violin. He was a composer, primarily of works for the violin, including three concerti; the most famous is Concerto No. 2 (“Hungarian”). He also wrote piano pieces, reworkings of Hungarian Dances for violin and piano, cadenzas, and other works. He wrote a method for violin technique.

REFERENCES

Breitburg, Iu. Iozef Ioakhim—pedagog i ispolnitel’. Moscow, 1966.
Moser, A. Joseph Joachim, vols. 1–2. Berlin, 1908–10.
References in periodicals archive ?
This was a reading of the utmost empathy, unforced and subtle, with Heinen bringing a Bachian inwardness to Brahms' cello writing, Jackson a sweet purity which must surely have come from the spirit of Joseph Joachim, the great violinist to whom the piece was a peace offering after a huge rift between Brahms and this man who was one of his greatest advocates.
The piece was transcribed for violin and piano in the 1850s with the help of its dedicatee, Joseph Joachim, but not published in that form until 1871.
Con las dificiles cadencias de Joseph Joachim, uno de los violinistas mejor dotados en toda la historia de la musica, amigo cercano de Brahms, Stephanie Chase revelo ademas una depurada tecnica que en su caso para nada debilita o encubre la sensibilidad del interprete.
The concert was attended Joseph Joachim (who had hea play before) and Pablo de Sara They were so impressed that th him to Brussels for study with renowned teacher Csar Thom * WoS od then embarked on a accompanying the Canadian so Dame Emma Albani, and they their association for a further years.
There is so much on this generous release, recorded in Symphony Hall earlier this year, to enthuse about: the post-Brahmsian homage to violinist Joseph Joachim which is Apotheosis, Daniel Hope the sweet-toned soloist here; the mysterious allure of the neo-Hebridean Lyra Celtica, with soprano Susan Bickley mesmeric in the wordless microtones Foulds demands of her; the primal energy of Three Mantras; and the Straussian vision of Mirage, all urgently, compellingly delivered by a topform CBSO under the inspired Sakari Oramo.
In 1854, Brahms joined the Schumann's circle through his friend Joseph Joachim.
6, first issued in a modern edition in 1891 by Joseph Joachim and Friedrich Chrysander (Les oeuvres de Arcangelo Corelli, vols.