JOSEPH JOACHIM mit GEIGE ~ ANTIKE JULIA MARGARET KAMERON FOTO ~ UNGARN/BRAHMS

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      • Joseph Joachim

        Julia Margaret Cameron

        1868

        Framed albumen silver print from glass negative.

        Signed, titled 'Joachim' and annotated '[From] Life Registered Photograph Copy Right Julia Margaret Cameron"

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        One of the nineteenth-century’s greatest violinists, the Hungarian-born Joseph Joachim (1831–1907) was a close friend and collaborator of Johannes Brahms, Robert and Clara Schumann, and, early in his career, Franz Liszt. In March 1868 he performed works by Beethoven and Bach at St. James’s Hall, London, “listened to with breathless attention, and received with such tumults of applause as must almost have astonished the great artist himself,” according to the Morning Post. “The execution by Herr Joseph Joachim of each of these grand, elaborate, and trying pieces, was beyond all praise—worthy, indeed, of one who, as a master of the violin, has long been without an equal.”

        It was during this trip to London that the violinist sat for Cameron in the studio she set up at the South Kensington Museum (now the Victoria and Albert), where her photographs had been acquired and exhibited as early as 1865. She never ran a commercial studio or accepted portrait commissions, choosing instead to seek out those poets, painters, scientists, and other notables with whom she felt a spiritual and intellectual kinship and whose images the public might desire.

        Size:

        Image measures 22.5 x 28.5cm (8 7/8 x 11 2/8 inches).

        Frame measures 1.5 x 38 x 48cm (0.5 x 15.5 x 19 inches).

        Condition:

        Image a little faded with foxing to original mount. 

        Original matt replaced and reframed using conservation mountboard and glass. 

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        Julia Margaret Cameron  (née Pattle; 11 June 1815 – 26 January 1879) was a British photographer who is considered one of the most important portraitists of the 19th century. She is known for her soft-focus close-ups of famous Victorian men and for illustrative images depicting characters from mythology, Christianity, and literature. She also produced sensitive portraits of women and children.

        After establishing herself first among Calcutta's Anglo-Indian upper-class and then among London's cultural elite, Cameron formed her own salon frequented by distinguished Victorians at the seaside village of Freshwater, Isle of Wight.

        After showing a keen interest in photography for many years, Cameron took up the practice at the relatively late age of 48, after her daughter gave her a camera as a present. She quickly produced a large body of work capturing the genius, beauty, and innocence of the men, women, and children who visited her studio at Freshwater, and created unique allegorical images inspired by tableaux vivants, theatre, 15th-century Italian painters, and the work of her creative contemporaries. Her photography career was short but productive; she made around 900 photographs over a 12-year period.

        Cameron's work was contentious in her own time. Critics lambasted her softly focused and unrefined images, and considered her illustrative photographs amateurish and hammy. However, her portraits of respected men (such as Henry Taylor, Charles Darwin, and Sir John Herschel) have been consistently praised, both in her own life and in reviews of her work since. Her images have been described as "extraordinarily powerful" and "wholly original", and she has been credited with producing the first close-ups in the history of the medium.

        On 11 June 1815, Julia Margaret Cameron was born Julia Margaret Pattle at Garden Reach, Calcutta, India to Adeline Marie (née de l'Etang) and James Peter Pattle. Julia was the fourth of ten children and one of seven to survive to adulthood; three of her siblings died as infants. 

        Her father was a British official from England in India while working for the East India Company. His family had been involved with the East India Company for many years, though he traced his line to a 17th-century ancestor living in Chancery Lane, London. Her mother was a French aristocrat and the daughter of Chevalier Ambrose Pierre Antoine de l'Etang, who had been a page to Marie Antoinette and an officer in the Garde du Corps of King Louis XVI. 

        The seven Pattle sisters—known for being close, outspoken, and unconventional in behaviour and dress (and for their "charm, wit and beauty")—were all sent to France as children to be educated. Julia lived there with her maternal grandmother from 1818 to 1834, after which she returned to India. 

        In 1835, after suffering several illnesses, Julia visited the Cape of Good Hope in South Africa with her parents to recover. It was common for Europeans living in India to visit South Africa to convalesce after an illness. 

        While there, she met the British astronomer and photochemist Sir John Herschel, who was observing the southern celestial hemisphere. She also met Charles Hay Cameron, twenty years her senior and a reformer of Indian law and education who later invested in coffee plantations in what is now Sri Lanka. Charles Hay was also there to convalesce, likely from a virulent malarial fever which often spread during the Indian monsoon season. The illness he suffered caused recurring kidney trouble and diarrhœa for the rest of his life. 

        They were married in Calcutta on 1 February 1838, just two years after meeting. In December of that same year, Julia gave birth to their first child; Sir John Herschel was the godfather. Between 1839 and 1852, they had six children, one of whom was adopted. In all, the Camerons raised 11 children, five of her own, five orphaned children of relatives, and an Irish girl named Mary Ryan whom they found begging on Putney Heath and whom Cameron used as a model in her photographs. Their son, Henry Herschel Hay Cameron, would also become a photographer. 

        Through the early 1840s—as the organiser of social engagements for the Governor-General, Lord Hardinge—Cameron became a prominent hostess in Anglo-Indian society. During this time she also corresponded with Herschel about the latest developments in photographic technology. In 1839, Herschel informed Cameron about the invention of photography. In 1842, he sent her two dozen calotypes and daguerreotypes, the first photographs she ever saw.

        Perhaps to be closer to their two children, the Camerons retired to England in 1845, where they took part in London's artistic and cultural scene. Julia often visited Little Holland House in Kensington, London, where her sister, Sara Prinsep, oversaw a literary and artistic salon "of Pre-Raphaelite painters, poets, and aristocrats with artistic pretensions". Here, she met many of the well-known subjects of her later portraits, including Henry Taylor and Alfred Tennyson.

        Daphne du Maurier describes the scene:

        The nobilitee, the gentree, the litherathure, polithics and art of the counthree, by jasus! It's a nest of proraphaelites, where Hunt, Millais, Rossetti, Watts, Leighton etc, Tennyson, the Brownings and Thackeray etc and tutti quanti receive dinners and incense, and cups of tea handed to them by these women almost kneeling. 

        Benjamin Jowett echoed this when describing Cameron's reverence to these creative personalities after a later visit to the same salon-like atmosphere at Freshwater, "She is a sort of hero-worshipper, and the hero is not Mr Tennyson — he only occupies second place — but Henry Taylor. 

        In 1847, she was writing poetry, had started a novel, and published a translation of Gottfried August Bürger's Leonora. 

        In 1848, Charles Cameron retired fully and invested in coffee and rubber plantations in Ceylon, becoming one of the island's largest landowners. The Camerons settled down in England, first in Tunbridge Wells in Kent, where they were neighbours of Taylor, then to East Sheen in 1850. During this time, Cameron became a member of a society for art education and appreciation and George Frederic Watts started working on a painting of Cameron. 

        In 1860, after an extended visit to Alfred Tennyson at the seaside village of Freshwater, on the Isle of Wight, Cameron hastily purchased a property next door to Tennyson. The family moved there, naming the property "Dimbola" after one of the coffee plantations in Ceylon. A private gate connected the residences and the two families soon started entertaining well-known personalities with music, poetry readings, and amateur plays, creating an artistic scene much as what was previously found at Little Holland House. She lived there until 1875. 

        Cameron showed an interest in photography in the late 1850s and there are indications that she experimented with making photographs in the early 1860s. Around 1863, her daughter and her son-in-law gave her her first camera (a sliding-box camera) as a Christmas present. The gift was meant to provide a diversion while her husband was in Ceylon tending to his coffee plantations. Of the gift, her daughter stated "It may amuse you, Mother, to try to photograph during your solitude at Freshwater."

        After receiving the camera, she cleared out a chicken coop and converted it into studio space. Later, in an unfinished autobiographical manuscript titled Annals of my Glasshouse, Cameron wrote:

        I turned my coal-house into my dark room, and a glazed fowl house I had given my children became my glass house. The hens were liberated, I hope and believe not eaten. The profit of my boys upon new laid eggs was stopped, and all hands and hearts sympathised in my new labour, since the society of hens and chickens was soon changed for that of poets, prophets, painters and lovely maidens, who all in turn have immortalized the humble little farm erection. I began with no knowledge of the art... I did not know where to place my dark box, how to focus my sitter, and my first picture I effaced to my consternation by rubbing my hand over the filmy side of the glass. 

        On 29 January 1864 she photographed nine‐year‐old Annie Philpot, an image she described as her "first success". She sent the photograph to the subject's father with the note:

        My first perfect success in the complete Photograph owing greatly to the docility & sweetness of my best & fairest sitter. This Photograph was taken by me at 1 p.m. Friday Jan. 29th. Printed—Toned—fixed and framed all by me & given as it is now by 8 p.m. this same day. 

        That same year, she compiled albums of her images for Watts and Herschel, registered her work and prepared it for exhibition and sale, and was elected to the Photographic Society of London, of which she remained a member until her death and where she displayed work at yearly exhibitions. 

        Though Cameron took up photography as an amateur and considered herself an artist, and despite never making commissioned portraits nor establishing a commercial studio, she thought of her photographic activity as a professional endeavour, actively copyrighting, publishing, and marketing her work. Her family did not see substantial profits from their coffee plantations in Ceylon and Cameron may have been looking to bring in some money with her photography. The portraits of celebrities and the high volume of her photographic output also suggest commercial aspirations. 

        In 1865, she became a member of the Photographic Society of Scotland and arranged to have her prints sold through the London dealers P. & D. Colnaghi. She presented a series of photographs, The Fruits of the Spirit, to the British Museum, and held her first solo exhibition in November 1865. Her prints generated robust demand and she showed her work throughout Europe, securing awards in Berlin in 1865 and 1866, and an honourable mention in Dublin. 

        Her photographic activity was supported by her husband. Cameron wrote: "My husband from first to last has watched every picture with delight, and it is my daily habit to run to him with every glass upon which a fresh glory is newly stamped, and to listen to his enthusiastic applause.

        In August 1865, the South Kensington Museum, now the Victoria and Albert Museum, purchased 80 of her photographs. Three years later, the museum offered her two rooms to use as a portrait studio, essentially making her the museum's first artist-in-residence. 

        She produced images of Thomas Carlyle and John Herschel in 1867. By 1868, she was generating sales through P. & D. Colnaghi and a second London agent, William Spooner. In 1869, she created The Kiss of Peace, which she considered her finest work. 

        In the early 1870s, Cameron's work matured. Her elaborate illustrative tableauxs involving religious, literary, and classical figures peaked in a series of images for Tennyson's Idylls of the King, published in 1874 and 1875, evidently at her expense. During this time, she also wrote Annals of my Glass House, an unfinished memoir recounting her photographic career. 

        In October 1873, her daughter died in childbirth. Two years later, because of her husband's ill health, because of the lower cost of living, and to be nearer to their sons who were managing the family coffee plantations (which had been badly harmed by a fungus), Cameron and her husband left Freshwater for Ceylon with "a cow, Cameron's photographic equipment, and two coffins, in case such items should not be available in the East". 

        Henry Taylor recounts the departure:

        Mr. and Mrs. Cameron have taken their departure for Ceylon, there to live and die. He had bought an estate there some thirty years ago when he was serving the Crown there and elsewhere in the East, and he had a passionate love for the island, to which he had rendered an important service in providing it with a code of procedure . . . he never ceased to yearn after the island as his place of abode, and thither in his eighty-first year he has betaken himself, with a strange joy. The design was kept secret, — I believe even from their dearest relatives. 

        V.C. Scott O'Connor later wrote about the absence at their vacated home in Freshwater:

        The house is silent now and tenantless. All its old feverish life and bustle are stilled as is the heart which beat here in true sympathy with every living creature that came within its reach needing such succor. Her pretty maids, her scholars, her poets, her philosophers, astronomers, and divines, all those men of genius who came and sat willingly to her while in a fever of artistic emotion she plied the instruments of her art, — they have all gone, and silence is the only tenant left at Dimbola. 

        The move effectively marked the end of Cameron's photography career; she took few photographs afterwards, mostly of Tamil servants and workers. Fewer than 30 images survive from this period. Cameron's output may have dropped in part because of the difficulty working with collodion in the insect-friendly heat where fresh water was less available for washing prints. The botanical painter and biologist Marianne North recounted her time visiting Cameron In Ceylon:

        The walls of the room were covered with magnificent photographs; others were tumbling about the tables, chairs, and floors with quantities of damp books, all untidy and picturesque; the lady herself with a lace veil on her head and flowing draperies. Her oddities were most refreshing . . . She also made some studies of natives while I was there, and took such a fancy to the back of one of them (which she said was absolutely superb) that she insisted on her son retaining him as her gardener, though she had no garden and he did not know even the meaning of the word. 

        In February 1876, Macmillan's Magazine published her poem, On a Portrait. The following year, her image The Parting of Sir Lancelot and Queen Guinevere appeared on the cover Harper's Weekly as a wood engraving. 

        After a short visit to England six months earlier, Cameron fell ill with a dangerous chill and died on 26 January 1879 at the Glencairn estate in Ceylon. It is often reported that her last word was "Beauty" or "Beautiful". 

        In her 12-year career, Cameron produced around 900 photographs. 

        Cameron was an educated and cultured woman; she was a Christian thinker familiar with medieval art, the Renaissance, and the Pre-Raphaelites. She may also have been influenced by the contemporary interest in phrenology, the study of the human physiognomy as a sign of a person's character. The Old Masters also informed her work. Her compositions and use of light have been connected to Raphael, Rembrandt, and Titian. 

        John Herschel, who relayed to Cameron the news of the inventions of photography by Talbot and Daguerre, was an important influence on technique and the practicalities of the medium, as indicated in a letter Cameron wrote to the astronomer, "You were my first teacher and to you I owe all the first experience and insights.

        It is likely that Cameron saw Reginald Southey photographing on the Isle of Wight during a holiday in 1857 when he visited the Camerons and photographed their children and the children of her neighbour, Alfred Tennyson, before Cameron took up the medium in earnest. 

        Perhaps the most important photographer to influence Cameron's work was David Wilkie Wynfield. Cameron's style of close-up portraits resembling Titian may well have been learned from Wynfield, since she took a lesson from him and later wrote "I consult him in correspondence whenever I am in difficulty". Much like Cameron, Wynfield published an album of soft-focus portraits of friends dressed up as characters from history or literature. The press compared their photographic work and noted the similarities in style and their consideration of the medium as fine art. She later wrote that "to my feeling about his beautiful photography I owed all my attempts and indeed consequently all my success". 

        Cameron's portraits are partly the product of her intimacy and regard for the subject, but also intend to capture "particular qualities or essences—typically, genius in men and beauty in women". Mike Weaver, a scholar who wrote about Cameron's photography in work published in 1984, framed her idea of genius and beauty "within a specifically Christian framework, as indicative of the sublime and the sacred". Weaver supposes that Cameron's myriad influences informed her concept of beauty: "the Bible, classical mythology, Shakespeare's plays, and Tennyson's poems were fused into a single vision of ideal beauty."

        Cameron herself indicated her desire to capture beauty. She wrote, "I longed to arrest all the beauty that came before me and at length the longing has been satisfied" and "My aspirations are to ennoble Photography and to secure for it the character and uses of High Art by combining the real & Ideal & sacrificing nothing of Truth by all possible devotion to poetry and beauty."

        Her female subjects were typically chosen for their beauty, particularly the "long-necked, long-haired, immature beauty familiar in Pre-Raphaelite paintings". In Virginia Woolf's farcical play Freshwater, which described the cultural scene at Freshwater, Cameron's character comically expresses her commitment to beauty:

        I have sought the beautiful in the most unlikely places. I have searched the police force at Freshwater, and not a man have I found with calves worthy of Sir Galahad. But, as I said to the Chief Constable, "Without beauty, constable, what is order? Without life, what is law?" Why should I continue to have my silver protected by a race of men whose legs are aesthetically abhorrent to me? If a burgler came and he were beautiful, I should say to him: Take my fish knives! Take my cruets, my bread baskets and my soup tureens. What you take is nothing to what you give, your calves, your beautiful calves. 

        Cameron's photographs are generally placed into three categories: distinguished portraits of men, delicate portraits of women, and illustrative allegories based on religious and literary works. 

        Cameron's portraits of men were a kind of hero-worship. To Thomas Carlyle, Cameron wrote "When I have had such men before my camera my whole soul has endeavoured to do its duty towards them in recording faithfully the greatness of the inner as well as the features of the outer man. The photograph thus taken has been almost the embodiment of a prayer.

        Most of these men are well-known scientists, writers, or clergymen of the Victorian era. Cameron turned to Old Master paintings and the contemporary idea — based in phrenology — of the ideal "type" to capture the greatness that she perceived in these eminent Victorian individuals. Her aspiration to record this greatness resulted in powerful images displaying a masterly command of chiaroscuro that resulted in "the finest and most revealing gallery of eminent Victorians in existence".

        Janet Malcom notes the attention Cameron paid to hair as an expressive element in her portraits, writing that "Her closeups of Tennyson, Carlyle, Darwin, Longfellow, Taylor, Watts, and Charles Cameron are as much celebrations of beards as of Victorian eminence."

        Her images of women are decidedly softer than those of men. With less dramatic lighting and a more typical distance between the sitter and the camera, these images are less dynamic and more conventional than her images of men. 

        Cameron almost exclusively photographed younger women, never making a portrait even of her neighbour and good friend Emily Tennyson. According to a biographer of Charles Darwin, Cameron refused to take a picture of Darwin's wife, saying that "no woman must be photographed between the ages of eighteen and seventy."

        Her mature photographs of women are noted for their subtle but suggestive representation of the obscurity and malleability of female identity. Many of her images of young women obscure their individuality and represent their identity as multifaceted and changeable by showing them "in pairs, or reflected in a mirror... frequently expressive of a deep ambiguity and anxiety.

        Janet Malcolm again notes Cameron's attention to the hair of her subjects, writing that "Like the little girls whose hair was mussed to rid it of its prim nursery look, the bigger girls were made to undo their buns and chignons so that their hair would poetically stream or flow or twist around their faces". 

        Children — her own children, those of relatives, and young locals — were often models for Cameron. Children were popular subjects in the Victorian era and Cameron kept with the prevailing notion of them as innocent, kind, and noble. She regularly depicted them as angels or as children from Bible stories. 

        The children in her images were not always cooperative, and her attempts to cast them as allegorical figures were often frustrated by the children's boredom, indignation, distraction — moods which are often evidenced in her images.

        Cameron may have found these illustrative group portraits more challenging than her other images. With more people in the image, the chances were greater that someone would move during the long exposures, so more light was needed to shorten the exposure time and arrest the motion. More sitters also meant a greater depth of field was necessary to put everyone in focus, further complicating the compositions. 

        Cameron's narrative portraits of women were influenced by tableaux vivants and amateur theatre. The women in her images are typically depicted in the idealised Victorian roles of mother and wife. 

        Cameron made over 50 images representing the Madonna, often played by her household servant Mary Hillier. These images present "an ideal of femininity that combines wholesomeness with qualities of sensuality and vulnerability". She represented the Virgin Mary in various scenes from the Bible, such as the Annunciation and the Salutation, but also created a number of images illustrating more obscure religious figures. 

        Cameron took literature as inspiration for her illustrative photographs, representing characters from Shakespeare, Elizabethan poems, novels, plays, and the work of her contemporaries: Alfred Tennyson, Henry Taylor, Christina Rossetti, Robert Browning, and George Eliot. 

        In 1874, Alfred Tennyson asked Cameron to create illustrations for a new edition of his Idylls of the King, a popular series of poems about Arthurian legends. Cameron worked on this commission for three months, capturing several images in her notable soft focus style. She was unhappy with the final publication, and complained that the small size of her images depleted their significance. This prompted Cameron to issue a deluxe version of the Idylls of the King which featured a series of twelve photographs as full-size prints. This series of images, influenced in part by Watts, was her last large-scale project and is considered the peak of her illustrative work. 

        In her own time, Cameron's photographs found a contentious audience, with many criticising her use of soft focus and her unretouched prints. 

        In 1865, The Photographic Journal reviewed her images, commenting:

        Mrs. Cameron exhibits her series of out-of-focus portraits of celebrities. We must give this lady credit for daring originality, but at the expense of all other photographic qualities. A true artist would employ all the resources at his disposal, in whatever branch of art he might practise. In these pictures, all that is good in photography has been neglected and the shortcomings of the art are prominently exhibited. We are sorry to have to speak thus severely on the works of a lady, but we feel compelled to do so in the interest of the art. 

        The Photographic News echoed this sentiment:

        What in the name of all the nitrate of silver that ever turned white into black have these pictures in common with good photography? Smudged, torn, dirty, undefined, and in some cases almost unreadable, there is hardly one of them that ought not to have been washed off the plate as soon as it appeared We cannot but think that this lady's highly imaginative and artistic efforts might be supplemented by the judicious employment of a small boy with a wash leather, and a lens screwed a trifle less out of accurate definition. 

        The Illustrated London News provided an alternative perspective, writing that her images were "the nearest approach to art, or rather the most bold and successful applications of the principles of fine-art to photography". 

        Cameron's niece Julia Prinsep Stephen (née Jackson; 1846–1895) wrote a biography of Cameron that appeared in the first edition of the Dictionary of National Biography, 1886. 

        A few years later, George Bernard Shaw reviewed a posthumous exhibition of Cameron's, writing:

        While the portraits of Herschel, Tennyson and Carlyle beat hollow anything I have ever seen, right on the same wall, and virtually in the same frame, there are photographs of children with no clothes on, or else the underclothes by way of propriety, with palpably paper wings, most inartistically grouped and artlessly labelled as angels, saints or fairies. No-one would imagine that the artist who produced the marvellous Carlyle would have produced such childish trivialities. 

        Virginia Woolf wrote a comic portrayal of the "Freshwater circle" in her only play Freshwater. Later, in collaboration with Roger Fry, Woolf also edited the first major collection of Cameron's photographs, Victorian Photographs of Famous Men and Fair Women, published in 1926. In the introduction to this collection, Fry wrote that Cameron's allegorical photographs "must all be judged as failures from an aesthetic viewpoint". He was more charitable toward her other work, writing that she had "a wonderful perception of character as it is expressed in form" and that her work was superior to the portraits of James Abbott McNeill Whistler and George Frederic Watts. 

        Despite the publication of this collection, Cameron's work remained obscure until the mid-1940s.

        Helmut Gernsheim, after seeing photographs that Cameron had donated to a railway station in Hampshire hanging in the waiting room of the station, published a book on her work that helped establish her reputation. Gernsheim's review of Cameron's work echoed the earlier sentiments of George Bernard Shaw and Roger Fry, criticising her allegorical and illustrative photos while praising her more straightforward portraits:

        If the majority of Mrs. Cameron's subject pictures seem to us affected, ludicrous and amateurish, and appear in our opinion to be failures, how masterly, on the other hand, are her straightforward, truthful portraits, which are entirely free from false sentiment, and which compensate for the errors of taste in her studies. 

        In 1984, Mike Weaver disputed this analysis in his book Julia Margaret Cameron 1815–1879, where he elevated Cameron's tableauxs as sincere religious interpretations. Weaver also criticised the characterisations of Cameron's personality that focused on her supposed eccentricities. 

        Colin Ford, in the Encyclopedia of Nineteenth-Century Photography calls her images "extraordinarily powerful" and "arguably the first 'close-up' photographs in history". He continues:

        Her visualisations of poetry are different in style and achievement from those of any other photographer of the time. Her contemporaries decorated books of poetry by Burns, Gray, Milton, Scott, Shakespeare and others with picturesque landscapes, occasionally peopling these with attractively disposed figures in the scenery, but rarely illustrating actual characters or incidents from the story. 

        For the Metropolitan Museum of Art's Heilbrunn Timeline of Art History, Malcolm Daniel writes:

        Her artistic goals for photography, informed by the outward appearance and spiritual content of fifteenth-century Italian painting, were wholly original in her medium. She aimed for neither the finish and formalized poses common in the commercial portrait studios, nor for the elaborate narratives of other Victorian "high art" photographers such as H. P. Robinson and O. G. Rejlander. 

        Janet Malcolm, in "The Genius of the Glass House" writes that "Cameron's compositions have more connection to the family album pictures of recalcitrant relatives who have been herded together for the obligatory group picture than they do to the masterpieces of Western painting" but that "The beauty that Cameron found, and in a surprising number of cases was able to arrest, among the aging and aged men of the Victorian literary and art establishment is a cornerstone of her achievement". In 2003, the J. Paul Getty Museum published a complete catalogue of Cameron's known surviving photographs. One caption of a portrait of Alice Liddell (whom Cameron photographed as Alethea, Pomona, Ceres, and St. Agnes in 1872) claims that "Cameron's photographic portraits are considered among the finest in the early history of photography". 

        In 2018, The Norman Album was deemed by the Reviewing Committee on the Export of Works of Art to be of "outstanding aesthetic importance and significance to the study of the history of photography and, in particular, the work of Julia Margaret Cameron—one of the most significant photographers of the 19th century."

        Retrospectives

        In 2013, the Metropolitan Museum of Art curated an exhibition of Cameron's work, which garnered significant reviews.

        In 2015 the Victoria and Albert Museum in London drew on their extensive collection of her work for a 200th anniversary retrospective of Cameron's career that also travelled to Sydney, Australia.

        An exhibition at the National Portrait Gallery in London in March 2018 placed her work in relationship to the work of her Victorian contemporaries, Lady Clementina Hawarden, Oscar Rejlander, and Lewis Carroll.

        The following retrospective exhibitions have focused on Cameron's oeuvre:

        Retrospective exhibitions:

        Julia Margaret Cameron - 1960/1 -  Limelight Gallery, United States

        Mrs. Cameron's photographs from the life - 1974 - Stanford University Museum of Art, United States

        Whisper of the Muse - 1986 - Getty Villa United States

        Whisper of the Muse at Loyola Marymount University  1986  Laband Gallery, United States

        Portrait Photographs by Julia Margaret Cameron  - 1987/8 - National Portrait Gallery, United States

        Julia Margaret Cameron: The Creative Process - 1996/7 - Getty Villa, United States

        1998 – Art Gallery of Ontario, Canada

        Julia Margaret Cameron: Nineteenth Century Photographic Genius - 2003 - National Portrait Gallery, London

        5 June 2003 - National Media Museum, United Kingdom

        Julia Margaret Cameron, Photographer - 2003/4 - Getty Center, United States

        Julia Margaret Cameron - 2013/14 - Metropolitan Museum of Art, United States

        Julia Margaret Cameron - 2015 - Art Gallery of New South Wales, Australia

        Julia Margaret Cameron: Influence and Intimacy - 2015/16 -Science Museum, London

        Julia Margaret Cameron - 2015/16 - Victoria and Albert Museum, United Kingdom

        Julia Margaret Cameron: A Woman who Breathed Life into Photographs - 2016 - Mitsubishi Ichigokan Museum, Japan.

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        Joseph Joachim  (Hungarian: Joachim József, 28 June 1831 – 15 August 1907) was a Hungarian violinist, conductor, composer and teacher who made an international career, based in Hanover and Berlin. A close collaborator of Johannes Brahms, he is widely regarded as one of the most significant violinists of the 19th century.

        Joachim studied violin early, beginning in Buda at age five, then in Vienna and Leipzig. He made his debut in London in 1844, playing Beethoven's Violin Concerto, with Mendelssohn conducting. He returned to London many times throughout life. After years of teaching at the Leipzig Conservatory and playing as principal violinist of the Gewandhausorchester, he moved to Weimar in 1848, where Franz Liszt established cultural life. From 1852, Joachim served at the court of Hanover, playing principal violin in the opera and conducting concerts, with months of free time in summer for concert tours. In 1853, he was invited by Robert Schumann to the Lower Rhine Music Festival, where he met Clara Schumann and Brahms, with whom he performed for years to come. He married Amalie, an opera singer, in 1863, who gave up her career; the couple had six children.

        Joachim quit service in Hanover in 1865, and the family moved to Berlin, where he was entrusted with founding and directing a new department at the Royal Conservatory, for performing music. He formed a string quartet, and kept performing chamber music on tours. His playing was recorded in 1903.

        Joachim was born in Köpcsény, Moson County, Kingdom of Hungary (present-day Kittsee in Burgenland, Austria). He was the seventh of eight children born to Julius, a wool merchant, and Fanny Joachim, who were of Hungarian-Jewish origin. He spent his childhood as a member of the Kittsee Kehilla (Jewish community), one of Hungary's prominent Siebengemeinden ('Seven Communities') under the protectorate of the Esterházy family. He was a first cousin of Fanny Wittgenstein, née Figdor, the mother of Karl Wittgenstein and the grandmother of the philosopher Ludwig Wittgenstein and the pianist Paul Wittgenstein. 

        In 1833 his family moved to Pest, which in 1873 was united with Buda and Óbuda to form Budapest. There from 1836 (age 5) he studied violin with the Polish violinist Stanisław Serwaczyński, the concertmaster of the opera in Pest, said to be the best violinist in Pest. Although Joachim's parents were "not particularly well off", they had been well advised to choose not just an "ordinary" violin teacher. Joachim's first public performance was 17 March 1839 when he was of age 7. (Serwaczyński later moved back to Lublin, Poland, where he taught Wieniawski.) In 1839, Joachim continued his studies at the Vienna Conservatory (briefly with Miska Hauser and Georg Hellmesberger, Sr.; finally – and most significantly – with Joseph Böhm, who introduced him to the world of chamber music). In 1843 he was taken by his cousin, Fanny Figdor, who later married "a Leipzig merchant" named Wittgenstein, to live and study in Leipzig. In the journal Neue Zeitschrift fůr Musik Robert Schumann was highly enthusiastic about Felix Mendelssohn, on which Moser writes "Only in Haydn's admiration for Mozart does the history of music know a parallel case of such ungrudging veneration of one great artist for his equal." in 1835, Mendelssohn had become director of the Leipzig Gewandhaus orchestra. In 1843 Joachim became a protégé of Mendelssohn, who arranged for him to study theory and composition with Moritz Hauptmann and violin with Ferdinand David. In his début performance in the Gewandhaus Joachim played the Otello Fantasy by Heinrich Wilhelm Ernst.

        On 27 May 1844 Joachim, not quite 13, in his London debut with Mendelssohn conducting at a concert of the Philharmonic Society, played the solo part in Beethoven's Violin Concerto. This was a triumph in several respects, as described by R. W. Eshbach. The Philharmonic had a policy against performers so young, but an exception was made after auditions persuaded gatherings of distinguished musicians and music lovers that Joachim had mature capabilities. Despite Beethoven's recognition as one of the greatest composers, and the ranking nowadays of his violin concerto as among the greatest few, it was far from being so ranked before Joachim's performance. Ludwig Spohr had harshly criticized it, and after the London premiere by violinist Edward Eliason, a critic had said it "might have been written by any third or fourth rate composer." But Joachim was very well prepared to play Beethoven's concerto, having written his own cadenzas for it and memorized the piece. The audience anticipated great things, having got word from the rehearsal, and so, Mendelssohn wrote, "frenetic applause began" as soon as Joachim stepped in front of the orchestra. The beginning was applauded still more, and "cheers of the audience accompanied every ... part of the concerto." Reviewers also had high praise. One for 'The Musical World' wrote "The greatest violinists hold this concerto in awe ... Young Joachim ... attacked it with the vigour and determination of the most accomplished artist ... no master could have read it better," and the two cadenzas, written by Joachim, were "tremendous feats ... ingeniously composed". Another reviewer, for the 'Illustrated London News', wrote that Joachim "is perhaps the first violin player, not only of his age, but of his siècle" [century]. "He performed Beethoven's solitary concerto, which we have heard all the great performers of the last twenty years attempt, and invariably fail in ... its performance was an eloquent vindication of the master-spirit who imagined it." A third reviewer, for the 'Morning Post', wrote that the concerto "has been generally regarded by violin-players as not a proper and effective development of the powers of their instrument" but that Joachim's performance "is beyond all praise, and defies all description" and "was altogether unprecedented." Joachim remained a favorite with the English public for the rest of his career. He visited England in each year 1858, 1859, 1862 largely at the behest of his friend William Sterndale Bennett, and for several decades thereafter. 

         Moser (p. 28 ff.) writes "After the appearance of the six String Quartets (Op. 18) Beethoven had complete command of the field of chamber-music", although in the later quartets he "makes many exacting demands" of string players. Moser (p. 29) further writes that "at the time of Beethoven's death", such people as Spohr and Hauptmann did not necessarily esteem the late quartets above the earliest ones. Moser, p. 30 writes that in Vienna "the public showed a marked hostility toward" the late quartets. But Joachim's teacher Böhm had an appreciation of the late quartets, which he communicated to Joachim. At the age of 18, "in the whole of Germany" Joachim had no equal, either in the rendering of Bach or in the concertos of Beethoven and Mendelssohn; while as quartet player, "he had no cause to fear rivalry."

        Following Mendelssohn's death in 1847, Joachim stayed briefly in Leipzig, teaching at the Conservatorium and playing on the first desk of the Gewandhaus Orchestra with Ferdinand David, whom Mendelssohn had appointed as concertmaster on taking up the conductorship in 1835.

        In 1848, the pianist and composer Franz Liszt took up residence in Weimar, where Goethe and Schiller had lived. Liszt was determined to re-establish the town's reputation as the Athens of Germany. There, he gathered a circle of young avant-garde disciples, vocally opposed to the conservatism of the Leipzig circle. Joachim was amongst the first of these. He served Liszt as concertmaster, and for several years enthusiastically embraced the new "psychological music," as he called it. In 1852 he moved to Hanover, at the same time dissociating himself from the musical ideals of the 'New German School' (Liszt, Richard Wagner, Hector Berlioz, and their followers, as defined by journalist Franz Brendel). "The worship of Wagner's music permeating musical taste in Weimar was to Joachim inordinate and unacceptable." Joachim's break with Liszt became final in August 1857, when he wrote to his former mentor: "I am completely out of sympathy with your music; it contradicts everything which from early youth I have taken as mental nourishment from the spirit of our great masters." Hanover "was then an independent kingdom, later to be absorbed in the German empire." King Georg of Hanover was totally blind and very fond of music; he paid Joachim a good salary and gave him considerable freedom. Joachim's duties in Hanover included playing the main violin part in opera performances and that or conducting state concerts. He had five summer months off, in which he made concert tours around Europe. In March 1853 he sent to Liszt a copy of the Overture to Hamlet he had recently composed. 

        Also in 1853, a committee headed by Schumann invited Joachim to the Lower Rhine Music Festival. At the Festival, Joachim again soloed in the Beethoven violin concerto. His success made him, it is said, "the most renowned artist of Germany". Robert Schumann and his wife Clara were deeply impressed, and formed a "close connection" with Joachim. Joachim met the then publicly unknown 20-year-old Brahms, and wrote of him that his playing "shows the intense fire...which predicts the artist" and "his compositions already betoken such power as I have seen in no other musician of his age". Joachim strongly recommended Brahms to Robert. Brahms was received by the Schumanns with great enthusiasm. After Robert's mental breakdown in 1854 and death in 1856, Joachim, Clara, and Brahms remained lifelong friends and shared musical views. Joachim's performing style with the violin, like Clara's at the piano, is said to have been "restrained, pure, antivirtuosic, expressing the music rather than the performer."

        In December 1854, Joachim visited Robert at the Endenich asylum where he had been since February, Joachim being his first visitor. Early on, Brahms already played and composed for the piano, which "he had mastered in a supreme fashion", but he felt deficient in orchestration. In 1854 he began composing what was to become his first piano concerto, his first orchestral piece. He sent a score of the first movement to Joachim, requesting his advice.After getting Joachim's response, Brahms wrote to him "A thousand thanks for having studied the first movement in such a sympathetic and careful manner. I have learned a great deal from your remarks. As a musician I really have no greater wish than to have more talent so that I can learn still more from such a friend." Later in the composition of the concerto, which took four years, Brahms wrote to Joachim "I am sending you the rondo once more. And just like the last time, I beg for some really severe criticism." The final manuscript of the concerto "shows many alterations in the handwriting of Joachim".

        Joachim's time in Hanover was his most prolific period of composition. Then and during the rest of his career, he frequently performed with Clara Schumann. For example, in October–November 1857 they took a recital tour together to Dresden, Leipzig, and Munich. St. James's Hall, London, which opened in 1858, hosted a series of "Popular Concerts" of chamber music, of which programmes from 1867 through 1904 are preserved. Joachim appears a great many times. He visited London each year from 1866 on. In March 1898 and in 1901–1904 Joachim appeared in his own quartet of players, but otherwise far more often he appeared with resident Popular Concerts artists Louis Ries, second violin, J. B. Zerbini, first viola, and Alfredo Piatti, first cello, reputed to be "one of the most celebrated cellists" of the time. George Bernard Shaw wrote that the Popular Concerts had helped greatly to spread and enlighten musical taste in England. Joachim had been a mainstay of the chamber music Popular Concerts.

        At 18 of the Popular Concerts at least, Clara Schumann performed along with Joachim, Zerbini and Piatti, presumably playing piano quartets (without second violin), or sometimes piano trios (for piano, violin, and cello). (The programs of those concerts very likely also included string quartets in which she of course did not play, as Ries is also listed.) A favorite piece of Clara's was Brahms's Piano Quartet in A major. She wrote to Brahms 27 February 1882 from London that the piece had received "much applause". About a performance of it in Liverpool 11 February she had written in her diary that it was "warmly received, much to my surprise as the public here is far less receptive than that in London." In January 1867 there had been a tour to Edinburgh and Glasgow, Scotland, by Joachim, Clara, her oldest daughter Marie, Ries, Zerbini, Piatti, two English sisters "Miss Pyne," one a singer, and a Mr. Saunders who managed all the arrangements. Marie Schumann wrote home from Manchester that in Edinburgh Clara "was received with tempestuous applause and had to give an encore, so had Joachim. Piatti, too, is always tremendously liked."

        Joachim had extensive correspondence with both Clara and Brahms, as Brahms greatly valued Joachim's opinion of his new compositions. In 1860 Brahms and Joachim jointly wrote a manifesto against the "progressive" music of the 'New German' School, in reaction to the polemics of Brendel's Neue Zeitschrift für Musik. This manifesto, a volley in the War of the Romantics, had originally few (four) signers (more later) and met with a mixed reception, being heavily derided by followers of Wagner. 

        On 10 May 1863 Joachim married the contralto Amalie Schneeweiss (stage name: Amalie Weiss) (1839–99). Amalie gave up her own promising career as an opera singer and gave birth to six children. She continued to perform in oratorios and to give lieder recitals. In 1865 Joachim quit the service of the King of Hanover in protest, when the Intendant (artistic director) of the Opera refused to advance one of the orchestral players (Jakob Grün) because of the latter's Jewish birth. In 1866, as a result of the Austro-Prussian war, in which Prussia and its capital Berlin became the dominant German state and city, Joachim moved to Berlin, where he was invited to help found, and to become the first director of, a new department of the Royal Academy of Music, concerned with musical performance and called the Hochschule für ausübende Tonkunst.

        On Good Friday, 10 April 1868, Joachim and his wife joined their friend, Johannes Brahms, in the celebration of one of Brahms' greatest triumphs, the first complete performance of his German Requiem at the Bremen Cathedral. Amalie Joachim sang "I Know that My Redeemer Liveth" and Joseph Joachim played Robert Schumann's Abendlied. It was a glorious occasion, after which about 100 of the composer's friends, the Joachims, Clara Schumann, Albert Dietrich and his wife, Max Bruch and others gathered at the Bremen Rathskeller.

        In 1869, the Joachim String Quartet was formed, which quickly gained a reputation as Europe's finest. It continued to perform until Joachim's death in 1907. Other members of the Quartet were, Karel Halíř (2nd violin) from 1897 on; Emanuel Wirth (viola) from 1877 on; and Robert Hausmann (cello), from 1879 on. In 1878 while writing his violin concerto, Brahms consulted Joachim, who "freely gave him encouragement and technical advice". Brahms asked Joachim to write the cadenza for the concerto, as he did.

        In 1884, Joachim and his wife separated after he became convinced that she was having an affair with the publisher Fritz Simrock. Brahms, certain that Joachim's suspicions were groundless, wrote a sympathetic letter to Amalie, which she later produced as evidence in Joachim's divorce proceeding against her. This led to a cooling of Brahms' and Joachim's friendship, which was not restored until some years later, when Brahms composed the Double Concerto in A minor for violin and cello, Op. 102, 1887, as a peace offering to his old friend. It was co-dedicated to the first performers, Joachim and Robert Hausmann.

        In late 1895 both Brahms and Joachim were present at the opening of the new Tonhalle at Zürich, Switzerland; Brahms conducted and Joachim was assistant conductor. But in April, two years later, Joachim was to lose forever this revered friend, as Johannes Brahms died at the age of 64 at Vienna. At Meiningen, in December 1899, it was Joachim who made the speech when a statue to Brahms was unveiled.

        In March 1877, Joachim received an honorary Doctorate of Music from Cambridge University. For the occasion he presented his Overture in honor of Kleist, Op. 13. Near the 50th anniversary of Joachim's debut recital, he was honored by "friends and admirers in England" on 16 April 1889 who presented him with "an exceptionally fine" violin made in 1715 by Antonio Stradivari, called "Il Cremonese".About ten years later, for the sixtieth jubilee, a concert in honor of Joachim was given by his former students of violin and viola playing and cellists who had studied quartet playing with him, on 22 April 1899. The total of some 140 string players was impressive, as were their instruments (made by Stradivari, Guarneri, Bergonzi, Amati, etc.). An honor such as that concert "had been accorded to no other musician during his lifetime".

        During 1899, Joachim was invited to become president of the newly established Oxford & Cambridge Musical Club in London. He remained club president until his death.

        In Berlin, on 17 August 1903, Joachim recorded five sides for The Gramophone & Typewriter Ltd (G&T), which remain a fascinating and valuable source of information about 19th-century styles of violin playing. He is the earliest violinist of distinction known to have recorded,[citation needed] only to be followed soon thereafter when Sarasate made some recordings the following year.

        Joachim's portrait was twice painted by Philip de László. A portrait of Joachim was painted by John Singer Sargent and presented to him at the 1904 "Diamond Jubilee" celebration of his sixtieth anniversary of his first appearance in London. Joachim remained in Berlin until his death in 1907.

        At his 75th birthday observance in June 1906, Joachim said:

        The Germans have four violin concertos. The greatest, most uncompromising is Beethoven's. The one by Brahms vies with it in seriousness. The richest, the most seductive, was written by Max Bruch. But the most inward, the heart's jewel, is Mendelssohn's.

        Bruch wrote three violin concertos. Joachim was presumably referring to his Concerto No. 1, which is the most well-known and frequently performed. Joachim had assisted Bruch in revising that concerto.

        Repertoire

        Among the most notable of Joachim's achievements were his revival of Beethoven's violin concerto already mentioned, the revival of Bach's Sonatas and Partitas for solo violin, BWV 1001–1006, especially the Chaconne from the Partita No. 2, BWV 1004, and of Beethoven's late string quartets. Joachim was the second violinist, after Ferdinand David, to play Mendelssohn's Violin Concerto in E minor, which he studied with the composer. Joachim played a pivotal role in the career of Brahms, and remained a tireless advocate of Brahms's compositions through all the vicissitudes of their friendship. He conducted the English premiere of Brahms's Symphony No. 1 in C minor at Cambridge on 8 March 1877, on the same day that he received a D. Mus. degree there (Brahms had declined an invitation to go to England himself).

        A number of Joachim's composer colleagues, including Schumann, Brahms, Bruch, and Dvořák, composed concerti with Joachim in mind, many of which entered the standard repertory. Nevertheless, Joachim's solo repertoire remained relatively restricted. He never performed Schumann's Violin Concerto in D minor, which Schumann wrote especially for him, or Dvořák's Violin Concerto in A minor, although Dvořák had earnestly solicited his advice about the piece, dedicated it to him, and would have liked him to premiere it. The most unusual work written for Joachim was the F-A-E Sonata, a collaboration between Schumann, Brahms, and Albert Dietrich, based upon the initials of Joachim's motto, Frei aber Einsam (which can be translated as "free but lonely", "free but alone", or "free but solitary"). Although the sonata is rarely performed in its entirety, the third movement, the Scherzo in C minor, composed by Brahms, is still frequently played today.

        Compositions:

        Joachim's own compositions are less well known. He gave opus numbers to 14 compositions and composed about an equal number of pieces without opus numbers. Among his compositions are various works for the violin (including three concerti) and overtures to Shakespeare's Hamlet and Henry IV. He also wrote cadenzas for a number of other composers' concerti (including the Beethoven and Brahms concerti). His most highly regarded composition is his Hungarian concerto (Violin Concerto No 2 in D minor, Op. 11).

        List of compositions:

        Fuller-Maitland, p. 56, lists the 14 pieces with opus numbers, not necessarily with the same details as below. On p. 57 he lists 6 of the 14 pieces given here as WoO, plus the orchestration of the Schubert Grand Duo and the Beethoven and Brahms concerto cadenzas.

        Original compositions:

        Op. 1, Andantino and Allegro scherzoso, for violin and piano (1848): dedicated to Joseph Böhm

        Op. 2, Drei Stücke (3 Pieces) for violin or viola and piano, (circa 1848–1852): Romanze, Fantasiestück, Eine Frühlingsfantasie; dedicated to Moritz Hauptmann

        Op. 3, Violin Concerto in One Movement, in G minor (1851); dedicated to Franz Liszt

        Op. 4, Hamlet Overture (1853); dedicated to Kapelle of Weimar

        Op. 5, Three Pieces for Violin and Piano: Lindenrauschen, Abendglocken, Ballade; dedicated to Gisela von Arnim

        Op. 6, Demetrius Overture (1853, to a play by Herman Friedrich Grimm; overture dedicated to Franz Liszt)

        Op. 7, Henry IV Overture (1854)

        Op. 8, Overture to a Comedy by Gozzi (1854); dedicated to Fritz Steinbach.

        Op. 9, Hebräische Melodien, nach Eindrücken der Byron'schen Gesänge (Hebrew Melodies, after Impressions of Byron's Songs) for viola and piano (1854–1855)

        Op. 10, Variationen über ein eigenes Thema (Variations on an Original Theme) in E major for viola and piano (1854); dedicated to Hermann Grimm.

        Op. 11, Violin Concerto No. 2 in D minor "in the Hungarian Manner" (1857, published in 1861); dedicated to Johannes Brahms. It is said that the solo violin part of the Hungarian Concerto is very difficult to play.

        Op. 12, Notturno for Violin and Small Orchestra in A major (1858)

        WoO, Violin Concerto No. 3 in G major (1875)

        Op. 13, Elegiac Overture "In Memoriam Heinrich von Kleist" (ca. 1877)

        Op. 14, Szene der Marfa from Friedrich Schiller's unfinished drama Demetrius (ca. 1869)

        WoO Haidenröslein Lied for high voice and piano; pub. Verlag des Ungar, 1846.

        WoO, Ich hab' im Traum geweinet for voice and piano, pub. Wigand, 1854.

        WoO, Scene from Schiller's Demetrius (1878)

        WoO, Rain, rain and sun, Merlin's Song (Tennyson), pub. C. Kegan & Co., 1880.

        WoO, Melodrama zu einer Schillergedenkfeier (unpublished, autograph in Hamburg Staats- und Universitätsbibliothek)

        WoO, Overture in C major (Konzertouvertüre zum Geburtstag des Kaisers) (1896)

        WoO, Two Marches for orchestra, in C and D

        WoO, Andantino in A minor, for violin and orchestra (also for violin and piano)

        WoO, Romance in B-flat major, for violin and piano

        WoO, Romance in C major, for violin and piano; pub. C. F. Kahnt Nachfolge, Leipzig, 1894.

        WoO, String Quartet Movement in C minor

        WoO, Variationen über ein irisches Elfenlied for piano (first publ. by J. Schuberth & Co. Hamburg, 1989. Edited by Michael Struck.)

        WoO, Variations for Violin and Orchestra in E minor (ca. 1879); dedicated to Pablo Sarasate

        WoO, Fantasie über ungarische Motive (ca. 1850); premiered in Weimar under Franz Liszt in October 1850

        WoO, Fantasie über irische [schottische] Motive (ca. 1852); premiered in London in May 1852

        Joachim and Clara Schumann (1854), drawing by Adolph Menzel

        An orchestration

        In 1855 Joachim orchestrated the Schubert Grand Duo piano duet into a "Symphony in C."

        Cadenzas

        Beethoven, Concerto in D major, Op. 61

        Brahms, Concerto in D major, Op. 77

        Kreutzer, Concerto No. 19 in D minor

        Mozart, Aria from Il re pastore, K. 208, Concerto No. 3 in G major, K. 216, Concerto No. 4 in D major, K. 218, and Concerto No. 5 in A major, K. 219

        Rode, Concerto No. 10 in B minor, and Concerto No. 11 in D major

        Spohr, Concerto in A minor, Op. 47 (Gesangsszene)

        Tartini, Sonata in G minor (Devil's Trill)

        Viotti, Concerto No. 22 in A minor

        Recordings of Joachim's compositions:

        Violin Concerto No. 1 in g minor, Op. 3

        Suyoen Kim (Violin), Michael Halász (Conductor), Weimar Staatskapelle, Naxos: 8.570991

        Violin Concerto No. 2 in d minor, Op. 11 "In the Hungarian Style":

        Rachel Barton Pine (Violin), Carlos Kalmar (Conductor), Chicago Symphony Orchestra, Cedille Records: CDR 90000 068 (liner notes)

        Elmar Oliveira (Violin), Leon Botstein (Conductor), London Philharmonic Orchestra, IMP Masters #: MCD27

        Aaron Rosand (Violin), Louis de Froment (Conductor), Luxembourg Radio/Television Symphony Orchestra, Vox Catalog #: CDX 5102

        Violin Concerto No. 3 in G major

        Takako Nishizaki (Violin), Meir Minsky (Conductor), Stuttgart Radio Symphony Orchestra, Marco Polo #: 8.223373, Naxos #: 8.554733

        Hamlet Overture, Op. 4

        Leon Botstein (Conductor), London Philharmonic Orchestra, IMP Masters #: MCD27

        Mariss Jansons (Conductor), Oslo Philharmonic Orchestra, Simax #: PSC 1206

        Meir Minsky (Conductor), Stuttgart Radio Symphony Orchestra, Naxos #: 8.554733

        Henry IV Overture, Op. 7

        Leon Botstein (Conductor), London Philharmonic Orchestra, IMP Masters #: MCD27

        Elegische Ouvertüre, Op. 13

        Meir Minsky (Conductor), Stuttgart Radio Symphony Orchestra, Naxos #: 8.554733

        Andantino and Allegro scherzoso, Op. 1: Andantino

        Marat Bisengaliev (Violin), John Lenehan (Piano), Naxos #: 8.553026

        Drei Stücke für Violine und Pianoforte, Op. 2

        Florin Paul (Violin), Birgitta Wollenweber (Piano), Tacet #: 56

        Drei Stücke für Violine und Pianoforte, Op. 5

        Florin Paul (Violin), Birgitta Wollenweber (Piano), Tacet #: 56

        Notturno in A major, Op. 12

        Hans Maile (Violin), Jesus Lopez-Cobos (Conductor), Berlin Radio Symphony Orchestra, Schwann #: CD 11622

        Romance in B-flat major

        Marat Bisengaliev (Violin), John Lenehan (Piano), Naxos #: 8.553026

        Aaron Rosand (Violin), Hugh Sung (Piano), Biddulph Recordings: LAW 003

        Romance in C major

        Florin Paul (Violin), Birgitta Wollenweber (Piano), Tacet #: 56

        Hebrew melodies, Op. 9

        Anna Barbara Dütschler (Viola), Marc Pantillon (Piano), Claves #: 9905

        Heinrich IV Overture, Op. 7 (2 pianos, arr. Johannes Brahms)

        Duo Egri-Pertis, Hungaroton #: 32003

        Variations for Viola and Piano, Op. 10

        Numerous recordings

        Variations for Violin and Orchestra in e minor

        Vilmos Szabadi (Violin), László Kovács (Conductor), North Hungarian Symphony Orchestra, Hungaroton #: 32185

        Variations for Violin and Piano in e minor

        Hagai Shaham (Violin), Arnon Erez (Piano), Hyperion #: CDA 67663

        String Quartet Movement (Quartettsatz) in c minor

        Israel String Quartet, Classic Talent #: B001HADEWI

        Joachim Quartet, Thorofon #: CTH 2120

        Joachim's own discography

        J. S. Bach: Partita for Violin No. 1 in B minor, BWV 1002: 7th movement, Tempo di Bourrée, Pearl Catalog: 9851 (also on Testament (749677132323)).

        Brahms: Hungarian Dances (21) for Piano 4 hands, WoO 1: No. 1 in G minor (arr. Joachim), Opal Recordings (also on Testament (749677132323)).

        Brahms: Hungarian Dance No. 2 in D minor (arr. Joachim), Grammophon Catalogue #047905; HMV, D88.

        Joachim: Romance in C major, Op. 20, Pearl Catalog: 9851

        Original pressings are single-sided and have a flat red G&T label. Later reeditions have a black G&T label (or, from 1909, a label showing the 'His Master's Voice' trade-mark), and those made for the German market are double-sided.

        A letter preserved in the EMI archives records the stringent conditions Joachim expected for the publicity for his recordings: sensational adverts were to be avoided, with no comparisons between his art and that of other violinists. The letter also stated that "it was only with the greatest difficulty that Professor Joachim was induced to play".

        Joachim's students:

        Joachim and the young Franz von Vecsey. Note the strongly incurving, arthritic first finger of his left hand. The chair in which he is sitting was a special present to him. He willed it to Donald Tovey, and it is now owned by the University of Edinburgh Museum.

        For Joachim's notable students, see List of music students by teacher: G to J § Joseph Joachim.

        Leopold Auer, violinist and teacher; studied with Joachim in Hanover. Among his many outstanding students were Mischa Elman, Jascha Heifetz, and Nathan Milstein.

        Dora Valesca Becker (1870-1958)

        Hugo Leichtentritt

        Aylmer Buesst

        Willy Burmester

        Carl Courvoisier (1846–1908), author of Technics of Violin Playing on Joachim's Method, London: The Strad Library, No. I, 1894.

        Bram Eldering (1865–1943), Concertmaster of the Berlin Philharmonic under Hans von Bülow; Concertmaster of the Meininger Hofkapelle

        Adila Fachiri, Joachim's great-niece

        F. Fleischhauer (born 1834), Hofconcertmeister in Meiningen

        Sam Franko

        Richard Gompertz (born 1859), professor of violin at the Royal College of Music, London

        Jakob Moritz Grũn, born in Pest, 1837; Joachim resigned a position to protest his non-advancement for being Jewish. Has an article in German Wikipedia.

        Karel (Carl) Halíř (1859–1909), Bohemian violinist, member of the Joachim Quartet

        Willy Hess

        Gustav Hille

        Richard Himmelstoß (born 1843), Concertmaster in Breslau

        Theodore Holland (1878–1947), British composer and teacher.

        Gustav Holländer (born 1855), solo violinist

        Jenő Hubay, Hungarian violinist, composer

        Bronisław Huberman

        Karl Klingler, violinist of the Klingler Quartet and Joachim's successor at the Berlin Hochschule; Klingler was the teacher of Shinichi Suzuki.

        Iosif Kotek (1855–1885), Russian violinist

        Hans Letz, Concertmaster of the Theodore Thomas Orchestra

        Bernhard Listemann, Concertmaster of the Boston Symphony Orchestra.

        Charles Martin Loeffler (1861–1935)

        Martin Marsick

        Pietro Melani

        Waldemar J. Meyer (1853–1940)

        Bernardo V. Moreira de Sá (1853–1924), Portuguese violinist and teacher; director of the "Conservatório de Música do Porto"; director and founder of the "Orpheon Portuense"; studied with Joachim in Berlin

        Andreas Moser (1859–1925), violinist and assistant to Joachim; Moser wrote the first biography of Joachim, Moser (1901), on Joachim's life up through 1899. He helped recover original scores of J.S. Bach's Sonate e Partite per violino solo, and collaborated with Joachim on numerous editions.

        Tivadar Nachéz (1859–1930)

        Henri Petri, Concertmaster in Leipzig

        Lili Petschnikoff (1874-1957), American violinist

        Maximilian Pilzer, Concertmaster of the New York Philharmonic (1915–1917)

        Enrico Polo (1868–1953), Italian violinist, violist, pedagogue

        Maud Powell, American violinist

        Willibald Richter (1860–1929), German-born English pianist, organist and teacher; student, friend and accompanist of Joachim; student of Haupt, Lebert, Liszt, Mischalek and Oscar; founded College of Music at Leicester

        Camillo Ritter, teacher of leading violist William Primrose

        Ossip Schnirlin (? – 1937)

        Emily Shinner[80]

        Axel Skovgaard

        Maria Soldat-Röger

        Theodore Spiering, American violinist; born in St. Louis, lived in Chicago; Concertmaster (1909–1911) of New York Philharmonic

        Kemp Stillings (1888-1967), American violinist, music teacher

        Franz von Vecsey, studied with Hubay, then Joachim; dedicatee of the Sibelius violin concerto

        Alfred Wittenberg

        Other pupils may be mentioned by Wilhelm Joseph von Wasielewski in his "Die Violine und Ihre Meister."

        Joachim's instruments:

        Most, but not all, of the many violins (and two violas) Joachim is said to have had during his career are shown on the website of Tarisio Auctions, cozio.com. Further information, in German, is in the article by Kamlah (2013).

        His first (full-size) violin was a Guarneri Filius Andreae 1703, which he gave to Felix Schumann after he acquired his first Stradivarius.

        A violin, the ex-Joachim Stradivarius of 1715 is currently held by the Collezione Civica del Comune di Cremona. It was presented to Joachim on the occasion of his Jubilee celebration in 1889.

        The Ex Joachim, Joseph Vieland Viola by Gasparo da Salò, Brescia, before 1609 is held by the Shrine to Music No. 3368.

        A Johannes Theodorus Cuypers anno 1807 was bought by Joachim in the mid 19th century and taken on tour throughout Europe. There is also evidence that the instrument was played by Joachim in a recital in Paris a half century later, in 1895. The same instrument was also played by Fritz Kreisler in a 1955 Carnegie Hall concert.

      • As it is sometimes difficult to properly judge the look and condition of an item from the description and photos alone, please feel free to bid knowing that you can return the item post free if you are not entirely pleased with your purchase. 

          • Please do not hesitate to contact me should you have any questions.
      • Combined shipping available at cost. 

      • Welsh Bridge Books & Collectables is a bricks and mortar shop located alongside the River Severn at Shrewsbury, in a beautiful 16th Century building housing three floors of interesting and eclectic books and collectables for sale. If you're in Shropshire please pop by and say hello!  Thank you.

  • Condition: Gebraucht
  • Condition: Image a little faded with foxing to original mount. Original matt replaced with new and reframed using conservation mountboard and glass.
  • Unit of Sale: Single Piece
  • Antique: Yes
  • Image Orientation: Portrait
  • Signed: Yes
  • Custom Bundle: No
  • Original/Licensed Reprint: Original
  • Framing: Mounted & Framed
  • Subject: Joseph Joachim, Musician, Portraiture, Hungary, Violin, Classical Music, Brahms, Julia Margaret Cameron
  • Vintage: Yes
  • Type: Photograph
  • Format: Albumen Print
  • Year of Production: 1868
  • Image Colour: Sepia
  • Photographer: Julia Margaret Cameron
  • Number of Photographs: 1
  • Theme: Music
  • Featured Person/Artist: Joseph Joachim
  • Time Period Manufactured: 1850-1899
  • Production Technique: Albumen Print
  • Country/Region of Manufacture: United Kingdom
  • Unit Quantity: 1
  • Finish: Matte

PicClick Insights - JOSEPH JOACHIM mit GEIGE ~ ANTIKE JULIA MARGARET KAMERON FOTO ~ UNGARN/BRAHMS PicClick Exklusiv

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