¹ Uhde, Katharina, The Music of Joseph Joachim (Woodbridge: Boydell & Brewer, 2018)CrossRefGoogle Scholar.

² Joseph Joachim: Identities/Identitäten: International Bilingual Conference. Hochschule für Musik Karlsruhe, 3–5 April 2020. The conference appears to have been cancelled (presumably due to the Covid-19 pandemic), but the planned programme is accessible at www.josephjoachim2020.com (accessed 1 December 2021).

³ See Beatrix Borchard, ‘Joachim, Joseph’, in Grove Music Online, Oxford Music Online, www.oxfordmusic.com. The works list was updated by Katharina Uhde on 27 February 2020.

⁴ Joseph Joachim, Fantasy on Hungarian Themes (1850), Fantasy on Irish [Scottish] Themes (1852) for Violin and Orchestra. Piano Reduction, ed. Katharina Uhde, arranged by Martin Schelhaas (Kassel: Bärenreiter, 2018). I will address the title of the Irish/Scottish fantasy later in this review. See also the review of this edition by Jacquelyn Sholes, Nineteenth-Century Music Review 18 (2021): 337–40.

⁵ For a more complete account, see Uhde, The Music of Joseph Joachim, 15–60; and Uhde, ‘Rediscovering Joseph Joachim's “Hungarian” and “Irish” [‘Scottish’] Fantasies’, The Musical Times 158 (2017): 75–99.

⁶ Wolff, Christoph, ‘From Berlin to Łódź: The Spitta Collection Resurfaces’, Notes 46/2 (1989): 311–27CrossRefGoogle Scholar. The Joachim manuscript is now catalogued at the University of Łódź (PL-ŁZu) as MS M 37322, under the title ‘Original Manuscript’. A scan can be viewed at www.bcul.lib.uni.lodz.pl/dlibra/publication/1745/edition/1383/content (accessed 1 December 2021). On the cadenza for the Beethoven concerto included in this manuscript, see Uhde, , ‘An Unknown Beethoven Cadenza by Joseph Joachim: “Dublin 1852”’, The Musical Quarterly 103/3–4 (2020): 394–424Google Scholar.

⁷ Wolff's brief mention of the Joachim manuscript is in ‘From Berlin to Łódź: The Spitta Collection Resurfaces’, 325. Wolff erroneously identifies the manuscript as 15849 (rather than 10849). Even after Wolff's 1989 research report mentioned the Joachim manuscript volume in Łódź, prominent Joachim works lists neglected to mention them, including those that appeared in the New Grove Dictionary, 2nd. ed. (2001) and the MGG (2003); see Uhde, The Music of Joseph Joachim, 15n5. Uhde added the two fantasies when she revised the Grove Music Online works list in 2020.

⁸ Andreas Moser, Joseph Joachim: Ein Lebensbild, vol. 2: 1856–1907 (Berlin: Deutschen Brahms-Gesellschaft, 1910), 90. See also Uhde, The Music of Joseph Joachim, 17.

⁹ Uhde, The Music of Joseph Joachim, 18. The manuscript volume's bookplate, which bears the name ‘Staatliche Akademische Hochschule für Musik’, indicates that it must have entered the collection after 1918, when the institution was renamed.

¹⁰ Joseph Joachim and Andreas Moser, Violinschule, 3 vols (Berlin: Simrock, 1905).

¹¹ ‘Daß sie nicht eine einseitige, nur die Kultur der Violine als Solo-Instrumentes ins Auge fassende Virtuosenschule war, geht schon daraus hervor, daß sie Behandlung der Geige, die ihr die Meister der Instrumentalmusik, von Haydn bis Mendelssohn, angedeihen ließen, in der Lehre und den technischen Errungenschaften jener Schule wurzelt’ (Joachim and Moser, Violinschule, 3: 32). The essay is the last of ten short articles on performance issues, all attributed to Moser, that open the treatise's third volume (‘Vom Vortrag: Zehn Aufsätze von Andreas Moser’). While Moser is the author, Joachim was presumably involved with developing and approving them (see Joachim and Moser, Violinschule, 1: 3–4 for Joachim's comments on the nature of their collaboration). For more context on Joachim's views on the Viotti school vs the modern Franco-Belgian school, see Clive Brown, ‘Joachim's Violin Playing and the Performance of Brahms's String Music’, in Performing Brahms: Early Evidence of Performance Style, ed. by Michael Musgrave and Bernard D. Sherman (Cambridge: Cambridge University Press, 2003), 48–98. See also Brown, ‘Joseph Joachim as Editor’, https://mhm.hud.ac.uk/chase/article/joseph-joachim-as-editor-clive-brown (accessed 1 December 2021).

¹² ‘Denn größere Gegensätze als die zwischen den Klassikern des französischen Violinspiels und den Vertretern der neueren französisch-belgischen Richtung sind nicht wohl denkbar: auf der einen Seite natürliches Singen und gesundes Musizieren, auf der anderen schlechte Vortragsmanieren und vollendete Stillosigkeit!’; Joachim and Moser, Violinschule, 3: 35.

¹³ Joachim and Moser, Violinschule, 3: 38. The attitudes expressed in this essay seem to have cast a long shadow on concert life, where virtuoso violin showpieces are regularly studied in conservatories but are often considered insufficiently ‘serious’ to be programmed in concerts with professional orchestras. See, for example, James Ehnes, ‘In Defense of Violin Music’, www.violinist.com/blog/jamesehnes/201312/15265 (accessed 1 December 2021).

¹⁴ Uhde, The Music of Joseph Joachim, 5.

¹⁵ See Uhde's introduction to Joachim, Fantasy on Hungarian Themes (1850), Fantasy on Irish [Scottish] Themes (1852), x.

¹⁶ Uhde, The Music of Joseph Joachim, 8.

¹⁷ Uhde, The Music of Joseph Joachim, 40–41.

¹⁸ For a detailed discussion, see Uhde, The Music of Joseph Joachim, 43–50. See also Bellman, Jonathan, The Style Hongrois in the Music of Western Europe (Boston: Northeastern University Press, 1993)Google Scholar.

¹⁹ Uhde, The Music of Joseph Joachim, 56–9. The complex question of Joachim's cosmopolitanism, assimilation and ambiguous national identity bears some relation to his many compositions with titles alluding to national styles or topics, such as the Hungarian and Irish violin fantasies. Uhde addresses these themes throughout her monograph; see, for example, The Music of Joseph Joachim, 10–12. See also Eshbach, Robert W., ‘Joachim's Youth – Joachim's Jewishness’, The Musical Quarterly 94/4 (2011): 548–92CrossRefGoogle Scholar.

²⁰ Uhde, The Music of Joseph Joachim, 21–4. The identification of the two Scottish melodies is from a London Times review of the premiere performance. Another review in the Evening Standard wrote that the fantasia was ‘founded on well-known Scottish airs’. Both reviews are cited in Uhde, The Music of Joseph Joachim, 22.

²¹ Joachim and Moser, Violinschule, 3: 7 and 9.

²² Uhde, The Music of Joseph Joachim, 70.

²³ A performance by Rainer Schmidt (violin) and Saiko Sasaki (piano) is included on Brahms, Joachim, Jenner: Works for Violin and Piano (Divox, CDX29503; 1999), and another by Florin Paul (violin) and Birgitta Wollenweber (piano) appears on Frei, aber einsem, vol. 4: Hommage à Joachim (TACET Musikproduktion, TACET056DIG; 1998). To my knowledge, the Notturno, op. 12, has just one other release besides Uhde's: a performance by Daniel Hope (violin) with Sakari Oramo directing the Royal Stockholm Philharmonic on The Romantic Violinist: A Celebration of Joseph Joachim (Deutsche Grammophon, 28947793014; 2011), available both on NAXOS and Spotify.