Famous Violinists of To-day and Yesterday

by Henry Charles Lahee

Joachim is called the greatest violinist of modern times, and no better words can be found to describe his characteristics than those of Wasielewski, who says: "Joachim's incomparable violin playing is the true chef-d'oeuvre, the ideal of a perfect violinist (so far as we present-day critics can judge). Less cannot, dare not be said, but, at the same time, more cannot be said of him or of any one, and it is enough. But that which raises him above all other contemporary violinists and musicians generally is the line he takes in his professional life. He is no virtuoso in the ordinary sense, for he is far more,—before all he will be a musician. And that he unquestionably is,—a magnificent example to young people, who are to some extent possessed of the demon of vanity, of what they should do and what they should leave undone. Joachim makes music, and his preëminent capabilities are directed toward the serving one true, genuine art, and he is right."

Joachim was born on June 28, 1831, in the village of Kittsee, in Hungary, within the small radius which has produced three other great musicians,—Haydn, Hummel, and Liszt. He began to study the violin when he was five years old, and was placed under Servaczinski, leader of the opera orchestra at Pesth. In two years he made his first public appearance at a concert at Pesth, when he played a duet concerto for two violins and orchestra with his master, and a solo on a theme by Schubert, with variations. He was now (1841) sent to Vienna, where he entered the conservatoire and studied under Böhm for two years. At the end of this time he went to Leipzig, where he met with Mendelssohn and played in a concert of Madame Viardot's. A few months later he appeared as a finished artist in a Gewandhaus concert, and played Ernst's "Otello Fantasie." Leipzig was then, under Mendelssohn's guidance, in the zenith of its fame, and for a boy of twelve to appear in a Gewandhaus concert and earn, not only the applause of the audience, but also the praise of the critics, was something very unusual. But a still greater honour was in store for him,—the following year he took part, in a Gewand haus concert, in a concertante for four violins by Maurer, the other performers being Ernst, Bazzini, and David, all violinists of renown and very much his seniors.

Joachim remained in Leipzig until 1850, studying with Ferdinand David, while Hauptmann gave him instruction in composition, though during this time he occasionally travelled in Germany and elsewhere to play in concerts. Thus in 1844 Mendelssohn brought him to England, where he played in public for the first time at a benefit concert of Mr. Bunn's at Drury Lane, in March, 1844, and in May of the same year he appeared at the fifth Philharmonic concert and played Beethoven's concerto with very great success. In this year two other violinists of note made their first appearance at the Philharmonic concerts,—Ernst and Sainton, also Piatti, the great violoncellist. Joachim visited England again in 1847, and since that time so frequently that he became one of the regular features of musical life in that country, where he has been so highly honoured.

Joachim's first appearance in Paris was made in 1849, when he spent two months in that city, and began his successes by playing in an orchestral concert given by Hector Berlioz. About this time Franz Liszt, who had heard of Joachim's rapidly increasing reputation, invited him to go to Weimar and lead the orchestra which he conducted. Joachim accepted the invitation and remained in Weimar two years. He could never be brought to see the beauty of the new school of music, and while he recognised the extraordinary gifts, and admired the personality and brilliant qualities of Liszt, he could not be prevailed upon to remain in Weimar longer than two years.

In 1854 he accepted the post of conductor and solo violinist to the King of Hanover, a position which he retained for twelve years, during which time he enhanced his reputa tion as a musician, and married Amalia Weiss, a celebrated contralto singer. In 1866 the troubles which enveloped Germany brought Joachim's engagement in Hanover to an end, but two years later he entered upon what has proved to be the most important part of his career, when he was appointed professor of violin at the Hochschule for music in Berlin. This school was a new branch of the already existing Academy of Arts, and was to be a high school for musical execution, as apart from composition.

Joachim threw his whole heart into the new work before him, and the branch of the school under his direction soon rivalled any similar school. Various branches were added to the school,—in 1871 a class for organ, in 1872 classes for brass instruments, double-bass, and solo vocalists, in 1873 a chorus class. In 1875 the Royal Academy of Arts was reorganised and became the Royal High School for Music, with Joachim as director. That Joachim had earned a very high position as early as 1859 is shown by an extract from the Musical World of London, in that year.

"So long as virtuosi walked (or galloped) in their proper sphere, they amused by their mechanical tours de force, charmed by their finesse and did no great harm to musical taste. They were accepted cum grano salis, applauded for their dexterity, and admired for the elegance with which they were able to elaborate thoughts in themselves of every slight artistic worth. But recently our 'virtuosi' have been oppressed with a notion that, to succeed in this country, they must invade and carry by storm the 'classics' of the art, instead of adhering exclusively as of old to their own fantasies and jeux de marteaux. One composition after another by the great masters is seized upon and worried. If they were things of flesh and blood, and could feel the gripe, be conscious of the teeth, and appreciate the fangs of these rapid-devouring 'virtuosi,' concertos, sonatas, trios, etc., would indeed be in a pitiable condition. Happily, being of the spirit, they bleed not, but are immortal.

"One great result attending Herr Joachim's professional visit to London is, that it enables both professors and amateurs opportunity after opportunity of studying his manner of playing the works of the giants of music. How Herr Joachim executes these compositions—how differently from the self-styled 'virtuosi,' how purely, how modestly, how wholly forgetful of himself in the text he considers it an honour being allowed to interpret to the crowd—we need scarcely remind our readers. Not a single eccentricity of carriage or demeanour, not a moment of egotistical display, to remind his hearers that, although Beethoven is being played, it is Joachim who is playing, ever escapes this truly admirable and (if words might be allowed to bear their legitimate signification) most accomplished of 'virtuosi.'"

As an example of Joachim's conscientiousness, the following little anecdote will serve to give an idea. Joachim once introduced into the point d'orgue of Beethoven's concerto a cadence terminated by a trait en octave, which caused an extraordinary effect. People spoke only of this cadence; it was the event of the evening wherever he played. This success wounded his feelings of artistic probity; he considered it unbecoming that people should be more taken up with the skill of the executant than with the beauties of the music, and the cadence was suppressed.

During the many years of his connection with the Hochschule, Joachim's personal influence has been exerted upon a large number of pupils, in fact almost every well-known violin player has been to Berlin to seek his advice and instruction, and the players he has perfected are almost without number. Many anecdotes are told concerning his kindness to his pupils, but so greatly is he sought after that comparatively few of the hundreds who flock to Berlin are able to reach him.