Bach Adagio g-minor played by Joseph Joachim 1904

Joseph Joachim (June 28, 1831 -- August 15, 1907) (pronounced YO-a-chim) was a violinist, conductor, composer and teacher. He is regarded as one of the most influential violinists of all time.

Joseph Joachim was born to Julius and Fanny Joachim, who were Hungarian Jews, as the seventh of eight children. Joachim was born in Kittsee (Kopčany / Köpcsény), near Bratislava and Eisenstadt, in today's Burgenland area of Austria. At the time, Kittsee was part of the Esterhazy holdings in Hungary, and for this reason Joachim is often considered to be Hungarian.
Joseph Joachim's birth house in Kittsee.

In 1833 his family moved to Pest, where he studied violin with Stanislaus Serwaczynski, the concertmaster of the opera in Pest. (Serwaczynski later moved to Lublin, Poland, where he taught Wieniawski). In 1839, Joachim continued his studies in Vienna (briefly with Miska Hauser and Georg Hellmesberger, Sr.; finally — and most significantly — with Joseph Böhm). He was taken by his cousin, Fanny Wittgenstein (grandmother of the philosopher Ludwig Wittgenstein) to live and study in Leipzig, where he became a protégé of Felix Mendelssohn. In his first public performance with the Leipzig Gewandhaus Orchestra he played a violin concerto by Heinrich Wilhelm Ernst. The twelve-year-old Joachim's 1844 performance of the Beethoven violin concerto in London (under Mendelssohn's baton) was a triumph, and helped to establish that work in the repertory. Although his second concert tour there was less successful, Joachim was to remain a favorite in England.

http://en.wikipedia.org/wiki/Joseph_Joachim

Category:

Music

Tags:

• classical_music
• violin
• Bach
• sei_solo_a_violino
• Adagio
• g-minor
• Joseph_Joachim
• 1904
• senza_vibrato

[bersa888]

Well... I don't have a recording of Geminiani playing the violin :-) but, for what we can deduct from texts, documents, letters, etc., and manuscripts themselves from the baroque, playing and singing music during that time was far more free (real declamation, flexible tempos, favoring smaller motifs and melodic cells over the "long phrase", basically no vibrato, etc.). This recording of Joachim, besides being closer to the previous centuries than us, seems to be reflecting those tendencies.

[GregHuismans]

@bersa888 And the basis of your assertion is??

[nicolasgabaron]

Vraiment émouvant d'entendre une interprétation aussi ancienne de ce mythique violoniste et tout de même assez claire. Merci beaucoup!

[MrGer2295]

Joseph Joachim(1831-1907)

was one of the greatest violinists of the 19th-century, a performer of impeccable technique and complete artistic integrity-not for him were the flashy crowd-thrilling antics of some 19th-century virtuosos.

wow! This is very nice recordings from a 1904!!! Thank you for sharing.

[bersa888]

Say what you may, but this is probably closer to the original "intentions" of the composer than some people may think....

[stringscgda]

last comment: If you wiki Joseph Bohm and trace back the instructional ancestry, it goes back into the 1600's with ties to all of the composers since Baroque. :)

[stringscgda]

... "shure" not "should" ... typo in last comment sigh.

[stringscgda]

This man's teacher, Joseph Bohm, had a working relationship with Ludwig van Beethoven! Bohm taught both of Auer's teachers, and Auer says not to use excessive vibrato. I'm should Bohm, who knew Beethoven, taught the same thing.

[stringscgda]

Regarding my last comment: You can read Leopold Auer's book "Violin as I Teach It" on google books now for free, since it is in the public domain. Read his section on Vibrato. Also read the section on bowing--he talks about how all his teachers bowed.

[stringscgda]

The man you listening to worked w/ Johannes Brahms & was taught by Joseph Bohm. Joseph Joachim along with Jacob Dont (also taught by Bohm) were Leopold Auer's teachers. Leopald Auer taught everyone at Julliard and indirectly has taught virtually all of today's virtuosos. Notice the lack of vibrato except for long duration notes? Leopard Auer tried to teach his students this, but they didn't listen often. So, in general, today's classical violin, in general is probably a misrepresentation.