Book contents
- Frontmatter
- Dedication
- Contents
- List of Illustrations
- List of Music Examples
- Acknowledgements
- List of Abbreviations
- Introduction
- PART I ISSUES AND PROBLEMS
- 1 Mind the Gap: Of Chasms, Historical Research, and ‘Romantic’ Performance
- 2 A Modernist Revolution?
- PART II IDEALS
- 3 A Violinistic Bel Canto?
- 4 A Violinistic Declamatory Ideal?
- PART III RESOURCES
- 5 Organology and its Implications
- 6 Teaching Perspectives: Treatises
- 7 Editions as Evidence
- 8 Recordings as a Window upon Romantic Performing Practices
- PART IV PROCESSES AND PRACTICES
- 9 The ‘Leeds School’: Autoethnographic Reflections on Historical Emulations
- 10 Joseph Joachim: A Case Study
- PART V SUGGESTIONS AND EXERCISES
- 11 Technical Exercises
- 12 Stylistic Exercises
- Conclusion
- Book Website Information
- Bibliography
- Discography
- Index
10 - Joseph Joachim: A Case Study
Published online by Cambridge University Press: 11 September 2020
- Frontmatter
- Dedication
- Contents
- List of Illustrations
- List of Music Examples
- Acknowledgements
- List of Abbreviations
- Introduction
- PART I ISSUES AND PROBLEMS
- 1 Mind the Gap: Of Chasms, Historical Research, and ‘Romantic’ Performance
- 2 A Modernist Revolution?
- PART II IDEALS
- 3 A Violinistic Bel Canto?
- 4 A Violinistic Declamatory Ideal?
- PART III RESOURCES
- 5 Organology and its Implications
- 6 Teaching Perspectives: Treatises
- 7 Editions as Evidence
- 8 Recordings as a Window upon Romantic Performing Practices
- PART IV PROCESSES AND PRACTICES
- 9 The ‘Leeds School’: Autoethnographic Reflections on Historical Emulations
- 10 Joseph Joachim: A Case Study
- PART V SUGGESTIONS AND EXERCISES
- 11 Technical Exercises
- 12 Stylistic Exercises
- Conclusion
- Book Website Information
- Bibliography
- Discography
- Index
Summary
As the subject for an ‘emulation’ approach to romantic violin playing, Joseph Joachim (1831–1907) is an obvious choice. The earliest-born violinist known to have made recordings, and from a tradition with close links to the more distant past, he is an attractive proposition. The fact that he left behind aural traces (his 1903 recordings) as well as substantial written documents means that emulation of his approach with some degree of certainty is possible, enabling a significant ‘re-awakening’ of his performing practices. This chapter summarises discussion of his practices and performance philosophy as revealed by a number of commentators, some key elements of his own writings upon performance, and his recordings, as well as a set of autoethnographic reflections upon my own work in invoking aspects of his playing (experiential ‘practice as research’).
WHICH JOACHIM?
In 1843, at the age of twelve, Joachim went to Leipzig to study under Felix Mendelssohn. As Moser accounts:
He was at once taken to Mendelssohn, who put him through a searching examination, hearing him play some violin solos, playing Beethoven’s Kreutzer Sonata with him, and giving him a few tests in Harmony. The astonished relations [of Joachim] could hardly believe their ears on hearing Mendelssohn's report of this examination: “The Cherub no longer needs the training of a Conservatoire for his instrument, indeed no teacher of violin-playing is necessary for him at all: let him work by himself, and play occasionally to David for the benefit of his criticism and advice. I myself will often and regularly play with him and be his adviser in artistic matters; the boy has also worked out his tests in harmony without hesitation or fault, and therefore I strongly advise him to continue this study under Hauptmann, in order that he may learn all that is required of a true artist. I consider it, however, of the greatest importance that the boy should receive a thoroughly sound general education, and I myself will undertake to find him a competent teacher”.
- Type
- Chapter
- Information
- Romantic Violin Performing PracticesA Handbook, pp. 213 - 242Publisher: Boydell & BrewerPrint publication year: 2020