Photographs from the Conference
Concert review by Alejandro Enrique Planchart in the Boston Musical Intelligencer
oseph Joachim is widely acknowledged to have been one of the most important musicians of the long 19th century. He is known as a child prodigy, internationally celebrated violin virtuoso, quartet player, composer of a short but distinguished catalog of works, Zukunftsmusiker, conductor, founding director of Berlin’s Königlich Akademischen Hochschule für ausübende Tonkunst, surrogate and advocate for his early-departed mentors Mendelssohn and Schumann, and collaborator in the careers and creative works of others, most notably his great friend Brahms. Joachim’s life and artistry touched, and were touched by, virtually every major European musical figure of his time. His circle of friends was wide, and included not only musicians, but many celebrated writers, artists, and politicians as well. As a formidable intellectual and commanding moral presence, Joachim helped bring about a fundamentally new understanding of the role of the performing artist and the musical heritage of Europe.
Yet, despite his prominence, Joachim remains something of an enigma, with much about his life and legacy waiting to be explored. Until recently, the final German edition of Andreas Moser’s authorized biography, Joseph Joachim: Ein Lebensbild (1908), was still the standard reference. The 2007 centenary of Joachim’s death brought a welcome new focus on this important artist, an international conference in his birth village of Kittsee (formerly Hungary, now Austria), and a growing body of new scholarship about his life and work. Beatrix Borchard’s dual biography, Stimme und Geige: Amalie und Joseph Joachim. Biographie und Interpretationsgeschichte (2005), offered important new information and an original perspective on that influential couple. More recent research has posed new questions about Joachim’s multi-faceted career and legacy and has begun to probe the façade of his carefully-crafted public image.
Our conference aims to further these new and promising developments by providing a forum in which scholars can share perspectives and contemplate directions for future research.
170 Beacon Street, Boston, Massachusetts 02116
Thursday, June 16
9:10 Welcome
9:20 Opening address: “The Quest for the Historical Joseph”
Robert W. Eshbach (University of New Hampshire)
Formative Experiences
Karen Leistra-Jones (Franklin and Marshall University), session chair
10:00 Mineo Ota (Miyagigakuin Women’s University), “Joseph Joachim and Gypsy Musicians: Their Relationships and Common Features in Performance Practice”
10:40 Styra Avins (New York City), “Joseph Joachim and the Haskalah: The Dilemma of German Jews”
11:20 Stephen Downes (Royal Holloway, University of London), “Joachim, A Sentimental Portrait”
12:00 Lunch
Violinist and Composer
Benjamin M. Korstvedt (Clark University), session chair
1:30 R. Larry Todd (Duke University), “Joachim and Musical Solitude, or, the Beginnings of the Ciphers F-A-E and Gis-e-la”
2:10 Katharina Uhde (Valparaiso University), “‘Soulfulness’ and ‘Individuality’ in Joachim’s Violin Concerto in G Major”
2:50 Break
3:10 Robert Riggs (University of Mississippi), “Tovey’s View of Joachim’s ‘Hungarian’ Violin Concerto”
3:50 Walter Kreyszig (University of Saskatchewan and Institute for Canadian Studies, University of Vienna), “‘… of this wonderful music by its best interpreter’: Joseph Joachim’s Contribution to the 1908 Berlin Edition of Johann Sebastian Bach’s Sonatas and Partitas for Violin Solo, BWV 1001-1006”
Friday, June 17
Connections with Past and Present
Daniel Beller-McKenna (University of New Hampshire), session chair
9:20 Vasiliki Papadopoulou (Austrian Academy of Sciences, Department of Musicology), “Joseph Joachim’s Violin Concerto op. 3 and Johannes Brahms’s Participation in the Piano Reduction”
10:00 Marie Sumner Lott (Georgia State University), “‘So Gleams the Past, the Light of Other Days’: Joachim’s Hebräische Melodien for Viola and Piano, op. 9 (1853)”
10:40 Valerie Woodring Goertzen (Loyola University New Orleans), “Joachim, Shakespeare’s Henry IV, and the Music of the Future”
11:20 Jacquelyn Sholes (Boston University), “Interpreting Joachim’s Overture to Hamlet and Its Relationship to Liszt”
12:00 Lunch
1:30 Lecture-recital: “Learning to Play from the Recordings of Nineteenth-Century Masters: New Perspectives on the Study of Historical Performance”
Neal Peres da Costa (Sydney Conservatorium of Music)
2:30 break
Joachim in Britain
Robert W. Eshbach (University of New Hampshire), session chair
2:45 Ian Maxwell (University of Cambridge, UK), “‘Thou That Hast Been in England Many a Year’: A Consideration of Joachim’s Influence on Music in Britain 1870-1907”
3:25 Michael Musgrave (The Juilliard School), “Joachim at the Crystal Palace”
4:05 Therese Ellsworth (Washington, DC), “’Caviare to the Multitude’: Joseph Joachim and the Monday Popular Concerts in London”
7:00 James Buswell: Pre-concert talk
8:00 Concert — First Church in Boston
Music of Joachim, Bach, and Brahms
James Buswell, violin, Carol Ou, violoncello, Victor Rosenbaum, piano, Mana Tokuno, piano, Jaime Korkos, mezzo-soprano
Saturday, June 18
The Performer in Context
Marie Sumner Lott (Georgia State University), session chair
9:20 Beatrix Borchard (Hochschule für Musik und Theater Hamburg), “Interpreters as Authors of the History of Music: Joseph and Amalie Joachim”
10:00 Ruprecht Kamlah (Erlangen), “Joachim’s Violins: Spotlights on Some of Them”
10:40 Karen Leistra-Jones (Franklin and Marshall University), “Joachim and the Dialectics of Enchantment”
11:20 William Horne (Loyola University New Orleans), “At the Intersection of Performance and Composition: Brahms’s Piano Quartet in A Major, Op. 26, Movement III”
12:00 Lunch
1:30 Lecture recital: “Der Klassikervortrag” – Re-enacting the Art of Joseph Joachim”
Kai Köpp, Johannes Gebauer, Sebastian Bausch (Bern University of Arts)
2:30 break
The Joachims’ Legacy as Mentors and Teachers
Robert Riggs (University of Mississippi), session chair
2:45 Heather Platt (Ball State University), “Amalie Joachim’s American Protégée: Villa Whitney White”
3:25 E. Douglas Bomberger (Elizabethtown College), “Madge Wickham, Student of Joachim”
4:05 Arthur Kaptainis (Montreal Gazette, National Post, University of Toronto), Arthur Rubinstein, Joachim’s Most Famous Student?”
7:30 Conference Dinner — College Club of Boston 
Associate Professor of Music, University of New Hampshire
Associate Professor of Music History, Loyola University New Orleans
Music by Joseph Joachim and his Circle
First Church in Boston
66 Marlborough Street, Boston, MA 02116
Public Admission: $25.00 at the door
Carol Ou, cello
Friday, June 17, 2016, 8:00 p.m.
Pre-concert Talk: James Buswell, 7:00 p.m.
Program
Ouverture to Hamlet, op. 4 (arranged for piano four-hands by Johannes Brahms)
Joseph Joachim
(1831-1907)
Mana Tokuno and Victor Rosenbaum, piano
Chaconne from the Partita in D minor, BWV 1004
Johann Sebastian Bach
(1685-1750)
James Buswell, violin
Two Songs for Alto, Viola, and Piano, op. 91
Johannes Brahms
(1833-1897)
Geistliches Wiegenlied (Sacred Lullaby)
Gestillte Sehnsucht (Stilled Longing)
Jaime Korkos, alto
James Buswell, viola
Mana Tokuno, piano
— Intermission —
Hebrew Melodies, op. 9
Joseph Joachim
Sostenuto
Grave
Andante cantabile
James Buswell, viola
Mana Tokuno, piano
Piano Trio no. 3 in C minor, op. 101
Johannes Brahms
Allegro energico
Presto non assai
Andante grazioso
Allegro molto
James Buswell, violin
Carol Ou, violoncello
Victor Rosenbaum, piano
Executive Chef Remy Steele
PASSED HORS D’OEUVRES:
Pita Crisp with Hummus, Fried Chickpea and Sun-dried Tomato
Teriyaki Meatball and Snow Pea Skewer
SALAD COURSE:
Warm Mushrooms, English Peas, Pickled Radish, with Pea Shoots, Baby Spring Greens and
Sherry-honey Vinaigrette
Assorted Breads and Butter Rounds
SOUP COURSE:
Chilled Ginger-Carrot Bisque (vegetarian)
MAIN COURSE:
guests will pre-order one on the following
Chicken Breast Roulade with Spinach and Goat Cheese and Marsala Sauce
Roast Fingerling Potatoes with Herb Butter
or
Lobster Stuffed Flounder with Roasted Asparagus and
Herbed Lemon Beurre Blanc
DESSERT BUFFET :
Assorted Mini Pick-Up Desserts
Self-Serve Regular and Decaf Coffee and Assorted TAZO Tea
BEVERAGES:
House Beer, Wine and Soft Drinks
Guests will receive 1 drink ticket followed by a cash bar
Please send any special dietary requests as far in advance as possible to Robert Eshbach
A vegetarian option will be provided
REGISTRATION AND FEES:
Public registration for the conference is now open on a first-come, first-served basis
Because of space limitations, we expect the conference to reach capacity rather quickly
To obtain a registration form, please write to Robert Eshbach at the email address below
Please use the subject line “Joachim Conference Registration”
Three-day registration $150/$130 pre-registration by April 15
Student registration $100/$80 pre-registration by April 15
Daily registration $55/$40 student (as available)
Concert admission included with three-day registration
Public concert admission $25.00 at the door.
Conference dinner $40.00 (limited to 50)
Contact for inquiries:
Individually:
Robert Eshbach rwe@joachimconference.com or
Valerie Goertzen vwg@joachimconference.com.
Please use the subject line “Joachim Conference.”
Boston’s Back Bay (click here for pictures)
36 Hours in Boston (NY Times)
More pictures of the College Club of Boston (click here)
The Joseph Joachim at 185 conference is supported in part by a generous grant from the
University of New Hampshire Center for the Humanities
Burt Feintuch, director
We are grateful for additional financial and practical support from the
Ryan C. McClelland, President
the
Christoph Mücher, Director
the Federal Republic of Germany through the German Academic Exchange Service
Dr. Nina Lemmens, Director DAAD North America
and Michael Thomanek, Senior Program Officer
and from
Magazin für Klassische Musik und Musikwissenschaft
Geschäftsstellenleiter: Mathias Brösicke
Joseph Joachim at 185 
https://www.facebook.com/JoachimConference/
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