Kapitel in diesem Buch

1. Frontmatter i
2. Contents vii
3. List of Illustrations ix
4. List of Music Examples xi
5. List of Tables xv
6. Notes on Contributors xvii
7. List of Abbreviations xxi
8. Introduction: The Creative Worlds of Joseph Joachim 1
9. PART 1 Identity
10. 1 “Of the Highest Good”: Joachim’s Relationship to Mendelssohn 13
11. 2 Joseph Joachim and His Jewish Dilemma 36
12. 3 Joachim and Romani Musicians: Their Relationship and Common Features in Performance Practice 52
13. PART 2 Joachim as Performer
14. 4 Joachim’s Violins: Spotlights on Some of Them 67
15. 5 (Re-)Enchanting Performance: Joachim and the Spirit of Beethoven 86
16. 6 “Thou That Hast Been in England Many a Year”: The British Joachim 104
17. 7 Joachim at the Crystal Palace 118
18. 8 “Music Was Poured by Perfect Ministrants”: Joseph Joachim at the Monday Popular Concerts, London 129
19. 9 “Das Quartett-Spiel ist doch wohl mein eigentliches Fach”: Joseph Joachim and the String Quartet 145
20. 10 Professor Joachim and His Pupils 163
21. 11 Performers as Authors of Music History: Joseph and Amalie Joachim 176
22. 12 At the Intersection of Performance and Composition: Joseph Joachim and the Third Movement of Brahms’s Piano Quartet in A Major, Op. 26 191
23. PART 3 Joachim as Composer
24. 13 Reconsidering the Young Composer-Performer Joseph Joachim, 1841–53 219
25. 14 “Franz Liszt gewidmet”: Joseph Joachim’s G-Minor Violin Concerto, Op. 3 242
26. 15 Drama and Music in Joachim’s Overture to Shakespeare’s Henry IV 260
27. 16 “So Gleams the Past, the Light of Other Days”: Joachim’s Hebräische Melodien for Viola and Piano, Op. 9 (1854) 280
28. 17 Tovey’s View of Joachim’s Hungarian Violin Concerto 300
29. Bibliography 323
30. Index 341