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Relevant bibliographies by topics / Joachim, Joseph

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Academic literature on the topic 'Joachim, Joseph'

Author: Grafiati

Published: 4 June 2021

Last updated: 2 February 2022

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Journal articles on the topic "Joachim, Joseph"

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--. "Joseph Joachim †." Bach-Jahrbuch 4 (February 8, 2018): 1–2. http://dx.doi.org/10.13141/bjb.v19071075.

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Downes, Stephen. "Sentimentalism, Joseph Joachim, and the English." 19th-Century Music 42, no. 2 (2018): 123–54. http://dx.doi.org/10.1525/ncm.2018.42.2.123.

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Joseph Joachim’s role in nineteenth-century English concert life is long celebrated. As yet unexamined, however, is how his performances and reception informed critical debates on sentimentalism. Joachim was a prominent celebrity in the domestic salons of mid-century, for example the Holland Park Circle, where his performances were described as perfect echoes of beautiful interior designs and his status confirmed by G. F. Watts’s famous portrait. This article builds on the relationship between “sublime sentimentality” and “domestic aestheticism” in the writings of John Ruskin, a prominent member of these salons. It explores how Ruskin’s idea of moving from domestic “sites,” through “patterns” to “states” in which the heartfelt is expressed in coded, synecdochal or allusive evocation, even in abstract design, can offer insight into the sentimental dimensions of Joachim’s salon performances. Crucially, Ruskin considered both domesticity and sentimentalism as designs and expressions of feeling which are capable of expansion into large forms and contexts, of moving from the intimate to the public. The second part of this article explores sentimentalism in works composed for the concert hall, provoking critical debate at the turn of the century. Tovey’s Victorian tastes were strongly influenced by both Joachim and Ruskin, but Tovey’s assessments of Joachim as the violinist reached the end of his career exemplify the wide critical turn against mid-century sentimentalism. In 1902 Tovey praised Joachim for making no concession to public sentimentalism, in particular through demonstrating a “Classical” grasp of form, by contrast with those who seek sentimental effect through slowing down the performance of “beautiful” passages. In a late echo of Ruskin, Tovey desired that one must be susceptible to the beauty of “design.” The article ends by comparing Sargent’s late portrait of Joachim, presented at the Jubilee celebrations of 1904, with that of Watts.

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Uhde, Katharina. "Of ‘Psychological Music’, Ciphers and Daguerreotypes: Joseph Joachim’sAbendglockenOp. 5 No. 2 (1853)." Nineteenth-Century Music Review 12, no. 2 (September 22, 2015): 227–52. http://dx.doi.org/10.1017/s1479409815000312.

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If as a performer and Brahms’s close collaborator Joachim promoted the music of Bach, Beethoven and Brahms, a process relatively unsympathetic to programme music of theNeudeutsche Schule, as a composer Joachim’s works do not display such an aesthetic stance. His own music, which he dubbed ‘psychological’, was intended to ‘detectandsave’, that is faithfully to perceive and record his emotions. As part of this process, Joachim’sAbendglocken, the second of theDrei Stücke, Op. 5, for violin and piano (1853), betrays a striking use of ciphers, taking Robert Schumann’s musical word games to a heightened level and using notational signs such as double bars as framing devices that suggest an intriguing link to the daguerreotypes of early photography.‘Psychological music’ describes a compositional approach Joachim pursued in the 1850s, when positivism began clashing with the existing idealist philosophy, as demonstrated in the emergence of empirical psychology from philosophy and metaphysics. Enrolled in philosophy at Göttingen University in 1853, Joachim would have encountered psychology from a pre-empirical, phenomenological perspective, which may have initiated his ‘psychological music’. The dedicatee ofAbendglockenand the constant subject of his thoughts – and arguably of his music – was Gisela von Arnim (1827–1889), daughter of Bettina von Arnim, with whom he was romantically involved and whose encrypted name – G♯–E–A – provides a valuable key to understandingAbendglockenin particular, and Joachim’s psychological music in general. This article considers the autobiographical, philosophical and cultural influences on Joachim to interpret ‘psychological music’ as it played out inAbendglocken.

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Kawabata, Maiko. "Katharina Uhde, The Music of Joseph Joachim." Studia Musicologica 59, no. 3-4 (December 2018): 453–59. http://dx.doi.org/10.1556/6.2018.59.3-4.11.

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Eshbach, Robert W. "The Music of Joseph Joachim by Katharina Uhde." Notes 77, no. 2 (2020): 268–71. http://dx.doi.org/10.1353/not.2020.0097.

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Papadopoulou, Vasiliki. ""[...] über die outrirte, willkürliche Bezeichnung"." Die Musikforschung 73, no. 1 (September 22, 2021): 17–30. http://dx.doi.org/10.52412/mf.2020.h1.28.

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Instructive editions from the late 19th and early 20th century include various annotations regarding musical and interpretative aspects, such as articulation, bowings, fingerings, dynamics, note values, or vibrato As a popular medium at the time, instructive editions were often in the centre of contemporary discussions and attracted the attention of musicians and music teachers, bequeathing us a wide corpus of valuable sources. Joseph Joachim was arguably the most prominent violinist and a sought-after pedagogue in the German-speaking world at the time. Hitherto unknown letters as well as revisited statements by Joachim lead to new insights regarding his attitude towards instructive editions: he viewed them - despite his (few) publications in this genre - very critically, as he was convinced that detailed instructions would limit the freedom of the performer. He instead preferred editions without annotations, but interpreted the music freely andd variably in what he considered the spirit of the composer. Joachim's attitude thus poses general questions as to the role and freedom of performance and interpretation in the second half of the nineteenth century.

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Uhde, Katharina. "An Unknown Beethoven Cadenza by Joseph Joachim: “Dublin 1852”." Musical Quarterly 103, no. 3-4 (December 1, 2020): 394–424. http://dx.doi.org/10.1093/musqtl/gdab003.

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Boantza, Victor D., and Leslie Tomory. "The “Subtile Aereal Spirit of Fountains”: Mineral Waters and the History of Pneumatic Chemistry." Early Science and Medicine 21, no. 4 (November 15, 2016): 303–31. http://dx.doi.org/10.1163/15733823-00214p02.

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The standard history of pneumatic chemistry is dominated by a landmark-discoverers-type narrative stretching from Robert Boyle, through Stephen Hales, Joseph Black, and Joseph Priestley, to Antoine Lavoisier. This article challenges this view by demonstrating the importance of the study of mineral waters – and their “aerial component” – to the evolution of pneumatic chemistry, from around van Helmont to the period before Black (1640s–1750s). Among key figures examined are Joan Baptista van Helmont, Johann Joachim Becher, Robert Boyle, Friedrich Hoffmann, and William Brownrigg.

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Horne, William. "Beethoven's String Quintet in C major, Op. 29, and Brahms's String Sextets: A Wallflower Blooms." Nineteenth-Century Music Review 18, no. 2 (January 22, 2021): 241–68. http://dx.doi.org/10.1017/s1479409820000269.

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Beethoven's String Quintet, Op. 29, has been described as a ‘wallflower’ work that, without enough suitors, remains on the sidelines of the string chamber music repertoire. But in the nineteenth century it had a prominent champion, Joseph Joachim, whose performances of the quintet must have attracted the attention of his close friend, Johannes Brahms. The opening theme of Brahms's String Sextet, Op. 18, is clearly reminiscent of the beginning of Beethoven's quintet. Evidence from Donald Francis Tovey's recollections of Joachim, Joachim's correspondence with the Brahms biographer Max Kalbeck, and the manuscript of Op. 18 shows that Joachim influenced an important revision that aligns the beginning of Brahms's sextet closely with the opening of Beethoven's Op. 29 also in terms of texture and formal design.The striking tremolo opening and virtuosic scale passages in the finale of Beethoven's quintet prefigure similar elements in the last movement of Brahms's Op. 36 sextet. But the deeper relationship between these movements lies in certain shared formal elements: a common emphasis on sound, texture and sharp contrasts between agitato and pastoral elements as defining features of the overall form – and several distinctive similarities of contrapuntal strategy, form and tonal design between the substantial fugatos that dominate the development sections of both movements.It is often observed that Brahms wrote chamber works in pairs. Scholars have often posited that his two string sextets form such a pair, but the separation of four years in their inceptions and his extensive use of Baroque-style materials composed in the 1850s in the later sextet have made this argument tenuous. It now emerges that an unusual pairing feature of Brahms's string sextets is that both works respond to Beethoven's ‘wallflower’ masterpiece.

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Sharpe, Eric J. "Essays in the History of Religions. Joachim Wach , Joseph M. Kitagawa , Gregory D. AllesIntroduction to the History of Religions. Joachim Wach , Joseph M. Kitgawa , Gregory D. Alles." Journal of Religion 69, no. 3 (July 1989): 452–53. http://dx.doi.org/10.1086/488186.

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Dissertations / Theses on the topic "Joachim, Joseph"

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Høilund-Carlsen, Ruud Olivia. "Den tapte romantiske tolkningstradisjonen : Representert ved fiolinisten Joseph Joachim." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3504.

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Vetter, Isolde. "Johannes Brahms und Joseph Joachim in der Schule der Alten Musik." Bärenreiter Verlag, 1987. https://slub.qucosa.de/id/qucosa%3A37252.

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Marihart, Werner [Verfasser], and Joachim [Akademischer Betreuer] Dorfmüller. "Joseph Marx : ein spätromantischer Komponist ; Betrachtungen zu seiner Biographie und seinem symphonischen Schaffen / Werner Marihart ; Betreuer: Joachim Dorfmüller." Münster : Universitäts- und Landesbibliothek Münster, 2017. http://d-nb.info/1142240797/34.

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Haffner, Thomas. "Winckelmann an Wackerbarth und umgekehrt: Ein lange vermisster Briefwechsel." SLUB Dresden, 2018. https://slub.qucosa.de/id/qucosa%3A16978.

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Im Februar 2017 hatte die SLUB das große Glück, einen bisher verschollen geglaubten Teil der Korrespondenz zwischen dem Altertumsforscher und Kunsthistoriker Johann Joachim Winckelmann (1717–1768) und dem Grafen Joseph Anton Gabaleon von Wackerbarth-Salmour (1685–1761), Erzieher und Oberhofmeister des sächsischen Kurprinzen Friedrich Christian (1722-1763), mit großzügiger finanzieller Unterstützung der Ernst von Siemens Kunststiftung (EvS) und der Kulturstiftung der Länder (KSL) erwerben zu können. Am 25. September 2017 wurde die außergewöhnliche Erwerbung im Beisein der Staatsministerin für Wissenschaft und Kunst Dr. Eva-Maria Stange, des Generalsekretärs der EvS Dr. Martin Hoernes, des kommissarischen Generalsekretärs der KSL Prof. Dr. Frank Druffner und des Herausgebers der Winckelmann-Gesamtausgabe Prof. Dr. Max Kunze offiziell vorgestellt.

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Le, Bars-Tosi Florence. "Les Français et l’archéologie au Royaume de Naples pendant le Decennio francese (1806-1815) : l’exemple des découvertes de céramique antique." Thesis, Paris 10, 2014. http://www.theses.fr/2014PA100111/document.

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En se proposant d’étudier les relations des Français avec le Royaume de Naples dans la mise en place d’une politique archéologique parmi les plus modernes d’Europe sous les règnes de Joseph Bonaparte et Joachim Murat, cette thèse s’inscrit dans plusieurs domaines de la recherche en Histoire (politique et culturelle), Histoire de l’Art et Archéologie. Il s’agit ainsi de nous pencher surl’Antiquité à travers le prisme du XIXe siècle, tout en tentant de répondre aux questions actuelles de l’Histoire de l’art sur les provenances archéologiques et le destin des oeuvres découvertes dans ces années. Devant l’ampleur des découvertes archéologiques faites pendant le decennio francese, nous choisissons de limiter la recherche au matériel céramique. Ce corpus homogène permet de revenir sur les découvertes et l’histoire des sites archéologiques de l’Italie méridionale dans les années 1806-1815, en explorant des archives inédites. Leur dépouillement systématique apporte de nouvelles connaissances sur l’histoire des sites fouillés et permet de retrouver la provenance perdue d’objets aujourd’hui conservés dans les musées européens. Par ce croisement inédit de sources, nous espérons donner une vision plus complète de la Naples du decennio francese, tout en élargissant les connaissances sur l’Histoire de l’Archéologie en Italieméridionale. C’est là tout l’enjeu d’un sujet aux confluences des différents courants de l’Histoire,contemplant l’Antiquité dans le miroir des premières années du XIXe siècle
Dealing with the relationships between the French connoisseurship and the Kingdom of Naples in building of one of the most modern archeological policies in Europe under Joseph Bonaparte and Joachim Murat's reigns, this doctorate takes a part in several fields of research in History (political and cultural), Art History and Archeology. It makes us look at the Antiquity through the prism of the XIX Century, trying at the same time to answer today’s questions of Art History about the archeological proveniences and the faith of the vases discovered in those years. In front of the large number of archeological discoveries made during the French Decade, we choose to focus our research on ancient painted vases. This homogeneous corpus leads us back to the discoveries and the history of archeological sites in the south of Italy during the years 1806-1815 by exploring ancient and unpublished archives. Their systematic sorting gives new information on the History of excavations, allowing us to find out the lost provenance of ancient vases, today conserved in several museums in Europe.With this original sources crossing, we aimed at offering a more complete vision of Naples during the French Decade by broadening the knowledge on the Southern Italian archeological History.Here stands the stake of a study at the confluences of different streams of History, looking at the Antiquity in the mirror of the first years of the XIX Century

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Fang, Heng-Ching. "The twentieth-century revolution in string playing as reflected in the changing performing practices of viola players from Joseph Joachim to the present day : a practice-based study." Thesis, University of Leeds, 2008. http://etheses.whiterose.ac.uk/646/.

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The aim of this Ph. D. is to investigate string performance practice issues in late nineteenth- and early twentieth-century viola repertoires. The study will focus especially on the use of vibrato and portamento, as well as tempo modification and rhythm adjustment. This practice-based research involves a methodology which explores the close relationship between theory and practice. Chapter One outlines my methodology, reflecting on the philosophical approach that I have developed throughout my project. The content also describes the importance of first-hand experience, highlighting the link between psychology and qualitative method. These subjects are then developed in Chapter Two, which explores the early stage of my four-year journey of this research. I analyse my two `modern' recordings of Brahms' Sonatas for Viola and Piano, Op. 120, No. 1 and 2, demonstrating the way in which globalisation and modernised playing have dominated our perception and affected music production in the recording industry. Chapter Three examines primary sources, and related early recordings(1) together with secondary literature,(2) with reference to my interpretation of German-Romantic viola repertoires by Robert Schumann, Joseph Joachim and Johannes Brahms(3). My intention is to try to understand and apply Joachim's aesthetic to my playing. Chapter Four focuses upon Lionel Tertis' playing. Using Tertis' treatise, Beauty of Tone in String Playing,(4) as well as his complete Vocalion and Columbia recordings,(5) and fingerings from his edition, I develop and then criticise my own interpretation. In Chapter Five I examine the process through which I have developed my own taste as a historically-informed player. I consider my expectations for the future alongside literature related to interpretation. Details of the recorded portfolio are presented at the end of this thesis, including a description of each CD album, a list of the repertoire and the duration, recording date, instrumental equipment and setting, as well as the recording equipment, software and recording engineer. It is suggested that the reader uses the commentary with the recordings, or if preferred, listens to the recordings first and then uses the written text for detailed explanation regarding my approach to interpretation. 1 See Discography, p. 95-6. 2 See Bibliography, p. 91-4. 3 See Appendix I, pp. 97-102. 4 Lionel Tertis, Beauty of Tone in String Playing (London, 1938). 5 Lionel Tertis' complete Vocalion recordings, 1919-24, Biddulph 80219-2; and Columbia recordings, 1924-33, Biddulph 80216-2.

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Böhmer, Andreas Alexandre [Verfasser], Joachim [Akademischer Betreuer] Ehrlich, Joachim [Gutachter] Ehrlich, and Josef [Gutachter] Pfeilschifter. "Kardiale Effekte der Vagostimulation durch Akupunktur / Andreas Alexandre Böhmer ; Gutachter: Joachim Ehrlich, Josef Pfeilschifter ; Betreuer: Joachim Ehrlich." Frankfurt am Main : Universitätsbibliothek Johann Christian Senckenberg, 2019. http://d-nb.info/1181427126/34.

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Waltl, Josef [Verfasser], Joachim [Akademischer Betreuer] Henkel, and Oliver [Akademischer Betreuer] Alexy. "IP Modularity in Software Products and Software Platform Ecosystems / Josef Waltl. Gutachter: Joachim Henkel ; Oliver Alexy. Betreuer: Joachim Henkel." München : Universitätsbibliothek der TU München, 2013. http://d-nb.info/1031756485/34.

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Orlando, Zoya [Verfasser], and Joachim [Akademischer Betreuer] Jose. "Humane Hyaluronidasen als Wirkstofftargets / Zoya Orlando ; Betreuer: Joachim Jose." Münster : Universitäts- und Landesbibliothek Münster, 2015. http://d-nb.info/113828159X/34.

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Hug, Joachim Josef [Verfasser]. "Exploring the biosynthetic logic of myxobacterial natural products / Joachim Josef Hug." Saarbrücken : Saarländische Universitäts- und Landesbibliothek, 2020. http://d-nb.info/1221129422/34.

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Books on the topic "Joachim, Joseph"

1

Hinrichsen, Hans-Joachim. Bach-Rezeption im Umkreis Franz Liszts: Joseph Joachim Raff und Hans von Bülow. Stuttgart: Carus, 2004.

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Lehmann, Mathias. Der Dreissigjährige Krieg im Musiktheater während der NS-Zeit: Untersuchungen zu politischen Aspekten der Musik am Beispiel von Karl Amadeus Hartmanns Des Simplicius Simplicissimus Jugend, Ludwig Mauricks Simplicius Simplicissimus, Richard Mohaupts Die Gaunerstreiche der Courasche, Eberhard Wolfgang Möllers und Hans Joachim Sobanskis Das Frankenburger Würfelspiel und Joseph Gregors und Richard Strauss' Friedenstag. Hamburg: Von Bockel, 2004.

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Stoll, Barrett Dr. Joachim Joseph. TFH Publications, 1986.

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Fuller-Maitland, J. A. Joseph Joachim (Living Masters of Music). Library Reprints, 2001.

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Moser, Andreus. Joseph Joachim: A Biography 1831-1899. Library Reprints, 2007.

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Joachim, Joseph. Letters from and to Joseph Joachim. Library Reprints, 2001.

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K, Krauss Joachim, Grossman Robert G, and Jankovic Joseph, eds. Pallidal surgery for the treatment of Parkinson's disease and movement disorders: Editors, Joachim K. Krauss, Robert G. Grossman, Joseph Jankovic. Philadelphia, PA: Lippincott-Raven Publishers, 1998.

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The admirable life of the glorious patriarch Saint Joseph: To which is added the lives of St. Joachim and St. Anne, taken from the Cité mystique de Dieu (The mystical city of God). New York: D. & J. Sadlier, 1986.

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Hartleb, Torsten, and Jürgen Fischer, eds. Innovative Verwaltung in Forschung und Lehre. Nomos Verlagsgesellschaft mbH & Co. KG, 2020. http://dx.doi.org/10.5771/9783748907770.

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Mit dieser Festschrift wird ein Wissenschaftler geehrt, der Forschung und Lehre im Bereich der öffentlichen Verwaltung maßgeblich beeinflusst hat. Prof. Dr. Heinz-Joachim Peters ist während seiner fast 40-jährigen Tätigkeit an der Hochschule Kehl in seiner eigenen Disziplin, dem öffentlichen Recht, mit zahlreichen Publikationen hervorgetreten, darunter einem Lehrbuch zum Umweltrecht und einem Standardkommentar zum UVPG. Darüber hinaus hat er viele interdisziplinäre Forschungsprojekte und innovative Lehrkonzepte für angehende Verwaltungsbeamte realisiert. An der Festschrift sind daher 30 Wissenschaftlerinnen und Wissenschaftler verschiedener Fachrichtungen (Rechtswissenschaft, Verwaltungswissenschaft, Betriebs- und Volkswirtschaftslehre sowie Psychologie) beteiligt, die mit spannenden Beiträgen das opulente Lebenswerk des Jubilars widerspiegeln. Mit Beiträgen von Stefan Balla, Andreas J. Baumert, Joachim Beck, Roland Böhmer, Hansjörg Drewello, Christian Dusch, Annegret Eppler, Edmund Fischer, Jürgen Fischer, Jürgen Fleckenstein, Sérgio F. Fortunato, Michael Frey, Wolfgang Hafner, Gerold Haouache, Torsten Hartleb, Andrea Herre, Thorsten Hesselbarth, Jan Kepert, Jürgen Kientz, Britta Kiesel, Peter-Christian Kunkel, Kay-Uwe Martens, Emmanuel Muller, Andreas Kurt Pattar, Frederike Peters, Josef Rauschecker, Erhard Schlabach, Christian Welz, Andreas Witt und Paul Witt.

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Soentgen, Jens, Ulrich M. Gassner, Julia von Hayek, and Alexandra Manzei, eds. Umwelt und Gesundheit. Nomos Verlagsgesellschaft mbH & Co. KG, 2020. http://dx.doi.org/10.5771/9783845296951.

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The series ‘Health Research. Interdisciplinary Perspectives’ is published annually and focuses on topics relating to all aspects of health. Our aim is to take interdisciplinarity as an aspiration seriously and provide the latest findings on current issues from different disciplinary perspectives. This volume addresses the highly topical subject of the environment and health, considering the general relationship between humans and the environment as well as their specific interdependence and the consequences they have on each other. From the history of environmental medicine to the statutory framework or practical (supra-) regional phenomena that could have an effect on human health, this book takes into account a broad variety of aspects and disciplinary viewpoints. With contributions by Daniela Bayr, Christoph Beck, Josef Cyrys, Athanasios Damialis, Michael Ertl, Verena Fricke, Thomas Fuchs, Ulrich M. Gassner, Michael Gerstlauer, Esther Giemsa, Gertrud Hammel, Jasmin Hartmann, Julia von Hayek, Elke Hertig, Clemens Heuson, Barbara Hoffmann, Claudia Hornberg, Jucundus Jacobeit, Jens Kersten, Franziska Kolek, Bernhard Kuch, Benjamin Kühlbach, Alexandra Manzei, Christa Meisinger, Markus Naumann, Andrea Pauli, Annette Peters, Andreas Philipp, Nora Pösl, Joachim Rathmann, Wolfgang von Scheidt, Alexandra Schneider, Stefanie Seubert, Jens Soentgen, Pia Sperlich, Annette Straub, Claudia Traidl-Hoffmann, Felix Tretter

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Book chapters on the topic "Joachim, Joseph"

1

Lönnecker, Harald. "Die Propagierung des Deutschen bei Hans Joachim Moser und Joseph Maria Müller-Blattau." In Inklusion & Exklusion, 171–94. Göttingen: V&R Unipress, 2015. http://dx.doi.org/10.14220/9783737004732.171.

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von Roth, Dominik, and Ulrike Roesler. "Nr. 138 | Johannes Brahms, Joseph Joachim, Julius Otto Grimm, Bernhard Scholz, [o. T., „Unter den hiesigen“], in: Berliner Musik-Zeitung Echo 10 (1860), Nr. 18 (6. Mai), S. 142." In Die Neudeutsche Schule – Phänomen und Geschichte, 1704–13. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-04923-0_138.

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"Joseph Joachim:." In Romantic Violin Performing Practices, 213–42. Boydell & Brewer, 2020. http://dx.doi.org/10.2307/j.ctvt1sjt5.17.

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Brown, Clive. "• Joseph Joachim." In A Portrait of Mendelssohn, 307–8. Yale University Press, 2003. http://dx.doi.org/10.12987/yale/9780300095395.003.0034.

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Milsom, David. "Joseph Joachim:." In ANKLAENGE 2008, 225–36. Mille Tre, 2009. http://dx.doi.org/10.2307/j.ctvdjrnv4.13.

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Dickens, Charles. "To Joseph Joachim, 7 July [1862]." In The British Academy/The Pilgrim Edition of the Letters of Charles Dickens, Vol. 10: 1862–1864, edited by Graham Storey, 103. Oxford University Press, 1998. http://dx.doi.org/10.1093/oseo/instance.00118015.

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"Chasing Dr Joachim – Die Jagd nach Dr. Joachim Joseph Joachim, Romanze in C-Dur. Reenactment der Aufnahme des Komponisten, 1903." In Arts in Context - Kunst, Forschung, Gesellschaft, 86–89. transcript-Verlag, 2020. http://dx.doi.org/10.14361/9783839453223-009.

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Borchard, Beatrix. "„Als Geiger bin ich Deutscher, als Komponist Ungar“ Joseph Joachim:." In ANKLAENGE 2008, 15–46. Mille Tre, 2009. http://dx.doi.org/10.2307/j.ctvdjrnv4.4.

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McManus, Laurie. "Introduction." In Brahms in the Priesthood of Art, 1–18. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190083274.003.0001.

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This introductory chapter establishes foundations of the book: who formed the priesthood of art (Johannes Brahms, Clara Schumann, Amalie Joachim, Joseph Joachim) and the birth of artistic priesthood from the art-religious spirit of German Romanticism in the early nineteenth century. In particular, this chapter introduces the notion that the artistic priesthood occupied a kind of alternative gendered space—neither fully masculine nor feminine—and that desirable characteristics of an artistic priest (devotion, humility, spiritial leadership) could be gendered in various ways in musical-critical discourse. After midcentury, changes in music aesthetics and gender roles created pressure to understand Romantic notions of musical priesthood as antiquated and outmoded. In short, Brahms offers a case study in the intersection of art-religious values with a gender dichotomy that became increasingly prescriptive over the second half of the nineteenth century.

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Lester, Joel. "Brahms and the Violin." In Brahms's Violin Sonatas, 329–62. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190087036.003.0006.

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How it is that Brahms, a consummate pianist, also wrote so imaginatively and extensively for violin? Chapter 6 explores various events that took place in 1853, the year that Brahms turned 20, when he left Hamburg to concertize with a violinist-colleague, met Joseph Joachim and began his lifelong friendship with him, and met Robert and Clara Schumann. Studying the sole movement for violin and piano that still exists from Brahms’s early works—the Scherzo that he contributed to the “F.A.E. Sonata”—we can assess the degree to which his mature compositional vision was already in place at such an early age.

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