Dr. Sanna Pederson, University of Oklahoma
August Zimmermann’s Quartet “The great prophet of Beethoven’s last quartets is definitely Zimmermann, 40 years before Joachim!”–Ivan Mahaim As mentioned in the previous post, Ivan Mahaim’s 1964 study of Beethoven: Naissance et Renaissance de Derniers Quatuors argued that the obscure violinist August Zimmermann deserved as much recognition as Joachim for his Berlin ensemble’s performances of … Read more
This illustration is the first section of a giant handmade chart included in the back pocket of Ivan Mahaim’s treasure-trove of a book on Beethoven’s late quartets, Beethoven: Naissance et Renaissance de Derniers Quatuors. The rows are the places of performances and the columns are the dates, starting in 1825. The numbers making up the … Read more
Researching Joachim’s concerts at the Leipzig Gewandhaus led me to the astonishing profusion of works by Louis Spohr on the concerts throughout the nineteenth century. A review from Hanslick on the occasion of a Joachim visit to Vienna in 1875 included an appreciation of the composer’s music. Hanslick had a nostalgic view of Spohr’s music … Read more
Joachim and the Gewandhaus: a sixty-year symbiosis Among the lore of this historic institution is Joachim’s debut as a twelve-year-old at the Gewandhaus in 1843. (Robert Eshbach has documented this event on his website). The Gewandhaus’s conductor Felix Mendelssohn and concertmaster Ferdinand David oversaw Joachim’s development as the child prodigy went through his teenage years. … Read more
Johann Kruse and the London Popular Concerts It is a challenge to define the parameters of this venerable and beloved fixture of nineteenth-century London concert life. Its name alone seems designed to create maximum confusion. First, “popular” is hard to define. One explanation is when they began, they were meant to be popular in content, … Read more
An addendum to the subject of the last post on Joachim’s student Lili Schober Petschnikoff. Lili’s memoir tells of her whirlwind engagement to violinist Alexander Petschnikoff, who had become famous almost overnight after his debut in Berlin in October of 1895. She describes in her own unique language the first time she heard him: He … Read more
“It’s perfect now,” Kotek said. “It’s fine, it’s beautiful!” “You played it beautifully,” Peter Ilych said, with his arm around Kotek’s shoulder. “You could play it in public at a moment’s notice, my friend.”“Really, Peter Ilych? Do you really think so?” Kotek’s young sensitive face flushed almost scarlet with pride and gratitude. But presently he … Read more