Dedication

pp v-vi

Contents

pp vii-viii

List of Illustrations

pp ix-x

List of Music Examples

pp xi-xiv

List of Tables

pp xv-xvi

Notes on Contributors

pp xvii-xx

List of Abbreviations

pp xxi-xxii

Introduction: The Creative Worlds of Joseph Joachim

pp 1-12

PART ONE - Identity

pp 13-14

1 - “Of the Highest Good”: Joachim’s Relationship to Mendelssohn

pp 15-35

2 - Joseph Joachim and His Jewish Dilemma

pp 36-51

3 - Joachim and Romani Musicians: Their Relationship and Common Features in Performance Practice

pp 52-66

PART TWO - Joachim as Performer

pp 67-68

4 - Joachim’s Violins: Spotlights on Some of Them

pp 69-85

5 - (Re-)Enchanting Performance: Joachim and the Spirit of Beethoven

pp 86-103

6 - “Thou That Hast Been in England Many a Year”: The British Joachim

pp 104-117

7 - Joachim at the Crystal Palace

pp 118-128

8 - “Music Was Poured by Perfect Ministrants”: Joseph Joachim at the Monday Popular Concerts, London

pp 129-144

9 - “Das Quartett-Spiel ist doch wohl mein eigentliches Fach”: Joseph Joachim and the String Quartet

pp 145-162

10 - Professor Joachim and His Pupils

pp 163-175

11 - Performers as Authors of Music History: Joseph and Amalie Joachim

pp 176-190

12 - At the Intersection of Performance and Composition: Joseph Joachim and the Third Movement of Brahms’s Piano Quartet in A Major, Op. 26

pp 191-218

PART THREE - Joachim as Composer

pp 219-220

13 - Reconsidering the Young Composer-Performer Joseph Joachim, 1841–53

pp 221-241

14 - “Franz Liszt gewidmet”: Joseph Joachim’s G-Minor Violin Concerto, Op. 3

pp 242-259

15 - Drama and Music in Joachim’s Overture to Shakespeare’s Henry IV

pp 260-279

16 - “So Gleams the Past, the Light of Other Days”: Joachim’s Hebräische Melodien for Viola and Piano, Op. 9 (1854)

pp 280-299

17 - Tovey’s View of Joachim’s Hungarian Violin Concerto

pp 300-322

Bibliography

pp 323-340