Joseph Joachim Homepage
This homepage is for sharing information about Joseph Joachim research, researchers, and events. Welcome to this congenial and growing group of scholars.
Scholars[edit]
Robert Whitehouse Eshbach, Associate Professor of Music, University of New Hampshire, reshbach@unh.edu
Valerie Woodring Goertzen
Katharina Uhde, Associate Professor of Music, Valparaiso University, Katharina.Uhde@valpo.edu
Recent Publications[edit]
Eshbach, Robert Whitehouse. “‘For All Are Born to the Ideal’ Joseph Joachim and Bettina von Arnim.” Music & Letters, (December 2020).
Uhde, Katharina. “An Unknown Beethoven Cadenza by Joseph Joachim, 1852: ‘Dublin’.” The Musical Quarterly 104 no. 1 (2021) [upcoming issue]
Forthcoming[edit]
Goertzen, Valerie Woodring, and Robert Whitehouse Eshbach, eds. The Creative Worlds of Joseph Joachim. Woodbridge, Suffolk: Boydell, forthcoming 2021.
Bibliography[edit]
Borchard, Beatrix Stimme und Geige: Amalie und Joseph Joachim, Biographie und Interpretationsgeschichte. Wien, Köln, Weimar: Böhlau Verlag, 2005.
Eshbach, Robert Whitehouse “Brahms in ‘das Land ohne Musik’: The Visit of the Meiningen Orchestra to England in 1902.” In Spätphase(n)? Johannes Brahms’s Werke der 1880er und 1890er Jahre, Internationales Musikwissenschaftliches Symposium, edited by Maren Goltz, Wolfgang Sandberger, and Christiane Wiesenfeldt, 233-46. Munich: Henle, 2010.
______. "Carl Reinecke, Joseph Joachim and the Violin Concerto, op. 141." In Carl Reinecke (1824-1910) und das Leipziger Musikleben Seiner Zeit, editedd by Thomas Schipperges, Stefan Schönknecht and Ute Schwab, 235-53. Hildesheim: Georg Olms, 2020.
______. “‘Dear Comrade-in-Arms’: Joseph Joachim, the Schumanns, and the ‘War of the Romantics.’” Unpublished essay.
______. “Der Geigerkönig: Joseph Joachim as Performer.” Die Tonkunst 1, no. 3 (July 2007): 205–17.
______. “‘For All Are Born to the Ideal’ Joseph Joachim and Bettina von Arnim.” Music & Letters, (December 2020).
______. Preface to Joseph Joachim’s Hamlet Ouverture (score). Munich: Musikproduktion Jürgen Höflich, 2016.
______. Preface to Joseph Joachim’s Hungarian Violin Concerto (score). Munich: Musikproduktion Jürgen Höflich, 2017.
______. “Schumann as Mentor: Joseph Joachim’s ‘Blick auf Schumann’.” Die Tonkunst, 4, no. 3, (July 2010) 352-66.
______. “The Joachim Quartet Concerts in the Berlin Singakademie: Mendelssohnian Geselligkeit in Wilhelmine Germany.” In Brahms in the Home and the Concert Hall: Between Private and Public Performance, edited by Katy Hamilton and Natasha Loges, 22–42. Cambridge: Cambridge University Press, 2014.
______. "Joachims Jugend." Die Tonkunst, 5, no. 2 (April 2011): 176–90.
______. “Joachim’s Youth – Joachim’s Jewishness.” The Musical Quarterly 94, no. 4 (December 2011): 548–92. ______. "Verehrter Freund! Liebes Kind! Liebster Jo! Mein einzig Licht. Intimate letters in Brahms's Freundeskreis." Die Tonkunst, 2, no. 2 (April 2008): 178–93.
______. The Creative Worlds of Joseph Joachim. Edited by Valerie Woodring Goertzen and Robert Whitehouse Eshbach. Woodbridge, Suffolk: Boydell, forthcoming 2021.
______. Joseph Joachim — Biography and Research
Goertzen, Valerie Woodring. “At the Piano with Joseph and Johannes: Joachim’s Overtures in Brahms’s Circle.” In Brahms in the Home and the Concert Hall: Between Private and Public Performance, edited by Katy Hamilton and Natasha Loges, 158–77. Cambridge: Cambridge University Press, 2014.
______, ed. Johannes Brahms: Arrangements von Werken anderer Komponisten für ein Klavier oder zwei Klaviere zu vier Händen. Johannes Brahms Neue Ausgabe sämtlicher Werke Serie IX, Band 1. Munich: G. Henle, 2012.
______, "Drama and Music in Joachim's Overture to Shakespeare's Henry IV." In The Creative Worlds of Joseph Joachim, edited by Valerie Woodring Goertzen and Robert Whitehouse Eshbach. Woodbridge, Suffolk: Boydell, forthcoming 2021.
______, and Robert Whitehouse Eshbach, eds. The Creative Worlds of Joseph Joachim. Woodbridge, Suffolk: Boydell, forthcoming 2021.
Stefaniak, Alexander. “Festivals of the Virtuoso Priesthood: Collaborating with Clara Schumann and Joseph Joachim.” In Schumann’s Virtuosity: Criticism, Composition, and Performance in Nineteenth-Century Germany, 195–238. Bloomington: Indiana University Press, 2016.
Uhde, Katharina, ed. Fantasy on Hungarian Themes (1850), Fantasy on Irish [Scottish] Themes (1852) for Violin and Orchestra, Piano Reduction. Kassel: Bärenreiter, 2018.
______. “Of ‘Psychological Music,’ Ciphers, and Daguerreotypes: Joseph Joachim’s Abendglocken Op. 5 No. 2 (1853).” Nineteenth-Century Music Review 12 (2015): 227–52.
______. The Music of Joseph Joachim. Woodbridge, Suffolk: Boydell, 2018.
______. “Psychologische Musik, Joseph Joachim, and the Search for a New Music Aesthetic in the 1850s.” PhD diss., Duke University, 2014.
______. “Rediscovering Joseph Joachim’s ‘Hungarian’ and ‘Irish’ [Scottish] Fantasies.” The Musical Times 158 (December 2017): 75–100.
______. “An Unknown Beethoven Cadenza by Joseph Joachim: ‘Dublin 1852.’” The Musical Quarterly (forthcoming).
______, and R. Larry Todd. “Joachim and Musical Solitude, or, the Beginnings of the Ciphers F-A-E and Gis-e-la.” In Nineteenth-Century Programme Music: Creation, Negotiations, Reception, edited by Jonathan Kregor, 25–38. Turnhout: Brepols, 2018.
______, and R. Larry Todd. “Salon Culture in the Circle of Joseph Joachim, or, Composing Inwardness: C. J. Arnold’s Quartettabend bei Bettina von Arnim Reconsidered.” In Musical Salon Culture in the Long Nineteenth Century, edited by Anja Bunzel and Natasha Loges, 43–64. Woodbridge, Suffolk: Boydell, 2019.