Joseph Joachim (Joseph Joachim) |

UJoseph Joachim

Kunabantu abahlukana ngokuhamba kwesikhathi nendawo abaphoqeleke ukuthi baphile kuyo; kukhona abantu abavumelanisa ngokumangalisayo izimfanelo zokuzicabangela, umbono wezwe kanye nezimfuno zobuciko kanye nemibono echaza izitayela zobuhle zenkathi. Phakathi kwalaba bamuva kwakungokukaJoachim. "KwakungokukaJoachim", njengemodeli "efanele" enkulu kunazo zonke, ukuthi izazi-mlando zomculo u-Vasilevsky noMoser banqume izimpawu eziphambili zendlela yokuhumusha kubuciko be-violin engxenyeni yesibili yekhulu lesi-XNUMX.

UJosef (Joseph) Joachim wazalwa ngoJuni 28, 1831 edolobheni laseKopchen eduze kwaseBratislava, inhloko-dolobha yamanje yaseSlovakia. Wayeneminyaka engu-2 lapho abazali bakhe bethuthela e-Pest, lapho, lapho eneminyaka engu-8, umdlali wevayolini wesikhathi esizayo waqala ukufunda kumdlali we-violini wasePoland uStanislav Serwaczyński, owayehlala lapho. Ngokusho kukaJoachim, wayengumfundisi omuhle, nakuba enamaphutha ekukhulisweni kwakhe, ikakhulukazi maqondana nendlela yesandla sokunene, uJoachim wabe eselwela ukulwa. Wafundisa uJoachim esebenzisa izifundo zeBayo, Rode, Kreutzer, imidlalo yeBerio, Maiseder, njll.

Ngo-1839 uJoachim ufika eVienna. Inhloko-dolobha yase-Austrian yakhanya ngeqoqo lezinkanyezi labaculi abaphawulekayo, phakathi kwabo uJosef Böhm noGeorg Helmesberger abagqama kakhulu. Ngemva kwezifundo eziningana ezivela ku-M. Hauser, u-Joachim uya e-Helmesberger. Nokho, ngokushesha wayishiya, enquma ukuthi isandla sokudla somdlali we-violini osemusha sasinganakwa kakhulu. Ngenhlanhla, uW. Ernst waba nesithakazelo kuJoachim futhi watusa ukuba uyise womfana aphendukele kuBem.

Ngemva kwezinyanga ze-18 zamakilasi no-Bem, u-Joachim wenza ukubonakala kwakhe komphakathi okokuqala e-Vienna. Wenza i-Othello ka-Ernst, futhi ukugxeka kwaphawula ukuvuthwa okungavamile, ukujula, kanye nokuphelela kokuhumusha kwengane ehlakaniphile.

Nokho, uJoachim ukweleta ukwakheka kwangempela kobuntu bakhe njengomculi-umcabango, umculi-umculi hhayi kuBoehm futhi, ngokuvamile, hhayi eVienna, kodwa eLeipzig Conservatory, lapho eya khona ngo-1843. I-conservatory yokuqala yaseJalimane eyasungulwa nguMendelssohn. babenothisha abavelele. Amakilasi e-violin kuyo ayephethwe uF. David, umngane omkhulu kaMendelssohn. ILeipzig phakathi nalesi sikhathi yaphenduka isikhungo esikhulu somculo eJalimane. Ihholo layo lekhonsathi elidumile i-Gewandhaus laheha abaculi abavela kuwo wonke umhlaba.

Isimo somculo saseLeipzig saba nomthelela omkhulu kuJoachim. UMendelssohn, uDavid noHauptmann, uJoachim afunda kubo ukuqamba, badlala indima enkulu ekukhulisweni kwakhe. Abaculi abafunde kakhulu, bayithuthukisa insizwa ngayo yonke indlela. UMendelssohn wakhangwa uJoachim emhlanganweni wokuqala. Ezwa i-Concerto yakhe idlalwa nguye, wajabula: “O, uyingelosi yami ene-trombone,” wancokola, ebhekisela kumfana okhuluphele, onezihlathi ezibomvu.

Zazingekho izigaba ezikhethekile esigabeni sikaDavide ngomqondo ojwayelekile wegama; konke kwakunqunyelwe izeluleko zikathisha kumfundi. Yebo, u-Joachim kwakungadingeki ukuba "afundiswe", njengoba wayesevele engumdlali wevayolini oqeqeshwe ngobuchwepheshe eLeipzig. Izifundo ziphenduke umculo wasekhaya ngokubamba iqhaza kukaMendelssohn, owadlala ngokuzithandela no-Joachim.

Izinyanga ze-3 ngemuva kokufika kwakhe eLeipzig, u-Joachim wenza ekhonsathini eyodwa noPauline Viardot, uMendelssohn noClara Schumann. Ngo-May 19 no-27, 1844, amakhonsathi akhe ayeseLondon, lapho enza khona i-Beethoven Concerto (uMendelssohn eshayela iqembu lomculo wezinsimbi); Ngo-May 11, 1845, wadlala i-Concerto kaMendelssohn eDresden (uR. Schumann eqhuba i-orchestra). Lawa maqiniso afakazela ukuqashelwa okusheshayo okungajwayelekile kuka-Joachim abaculi abakhulu benkathi.

Lapho uJoachim eba neminyaka engu-16, uMendelssohn wamcela ukuba athathe isikhundla sokuba uthisha endaweni yomculo kanye nomphathi wekhonsathi weqembu lomculo iGewandhaus. UJoachim wakamuva wabelane nothisha wakhe wangaphambili uF. David.

UJoachim waba nesikhathi esinzima ngokufa kukaMendelssohn, okwalandela ngo-November 4, 1847, ngakho wasamukela ngokuzithandela isimemo sikaLiszt futhi wathuthela e-Weimar ngo-1850. Wakhangwa futhi lapha yiqiniso lokuthi phakathi nalesi sikhathi wayethathwe ngentshiseko. Liszt, walwela ukuxhumana naye eduze nombuthano wakhe. Kodwa-ke, njengoba ekhuliswe uMendelssohn noSchumann emasikweni aqinile emfundo, washeshe wadumala ngokuthambekela kobuhle "kwesikole esisha saseJalimane" futhi waqala ukuhlola uLiszt ngokujulile. J. Milstein ubhala ngokufanelekile ukuthi kwakunguJoachim owathi, elandela uSchumann noBalzac, wabeka isisekelo sombono wokuthi uLiszt wayengumdlali omkhulu nomqambi osezingeni eliphansi. “Kuwo wonke umbhalo kaLiszt umuntu angawezwa amanga,” kubhala uJoachim.

Ukungavumelani okwase kuqalile kwabangela isifiso kuJoachim sokushiya i-Weimar, futhi ngo-1852 waya eHannover ngokukhululeka ukuze athathe indawo kamufi uGeorg Helmesberger, indodana kathisha wakhe waseViennese.

I-Hanover iyingqopha-mlando ebalulekile empilweni ka-Joachim. Inkosi eyimpumputhe yaseHanoverian yayiwuthanda kakhulu umculo futhi yazisa kakhulu ithalenta layo. E-Hannover, umsebenzi wokufundisa womdlali wevayolini omkhulu wathuthukiswa ngokugcwele. Lapha u-Auer wafunda naye, ngokusho kwezahlulelo zikabani okungaphetha ngokuthi ngalesi sikhathi izimiso zokufundisa zikaJoachim zase zinqunywe ngokwanele. E-Hanover, u-Joachim wadala imisebenzi eminingana, kuhlanganise ne-Hungarian Violin Concerto, ingoma yakhe engcono kakhulu.

Ngo-May 1853, ngemva kwekhonsathi e-Düsseldorf lapho enza khona njengomqhubi, u-Joachim waba umngane noRobert Schumann. Wagcina ukuxhumana noSchumann kwaze kwaba sekufeni komqambi. UJoachim wayengomunye wabambalwa abavakashela uSchumann ogulayo e-Endenich. Izincwadi zakhe azibhalela uClara Schumann ziye zalondolozwa mayelana nalokhu kuhambela, lapho ebhala khona ukuthi emhlanganweni wokuqala wayenethemba lokululama komqambi, nokho, lagcina lishabalele lapho efika okwesibili: “.

U-Schumann wanikezela i-Fantasia ye-Violin (ikhasi 131) ku-Joachim futhi wanikeza umbhalo wesandla womculo wepiyano kuma-caprices ka-Paganini, abekade esebenza kuwo eminyakeni yokugcina yokuphila kwakhe.

EHannover, ngoMeyi 1853, uJoachim wahlangana noBrahms (ngaleso sikhathi owayengumqambi ongaziwa). Emhlanganweni wabo wokuqala, kwasungulwa ubudlelwano obuhle kakhulu phakathi kwabo, buqiniswa ukufana okumangalisayo kwemibono yobuhle. U-Joachim unikeze u-Brahms incwadi yokuncoma ku-Liszt, wamema umngane osemusha endaweni yakhe e-Göttingen ehlobo, lapho balalela khona izinkulumo zefilosofi eyunivesithi edumile.

U-Joachim wadlala indima enkulu empilweni ye-Brahms, wenza okuningi ukuze aqaphele umsebenzi wakhe. Ngokulandelayo, ama-Brahms abe nomthelela omkhulu ku-Joachim ngokwemibandela yobuciko nobuhle. Ngaphansi kwethonya lika-Brahms, u-Joachim wagcina ehlukana no-Liszt futhi wabamba iqhaza eliqinile emzabalazweni oqhubekayo wokulwa "nesikole esisha saseJalimane".

Kanye nobutha ku-Liszt, u-Joachim wazizwa engathandeki nakakhulu ku-Wagner, okuyinto, ngendlela, eyayihambisana ngayo. Encwadini yokuqhuba, u-Wagner "unikezele" imigqa ye-caustic ku-Joachim.

Ngo-1868, uJoachim wazinza eBerlin, lapho ngemva konyaka wamiswa njengomqondisi we-Conservatory esanda kuvulwa. Wahlala kulesi sikhundla kwaze kwaba sekupheleni kokuphila kwakhe. Ngaphandle, noma yimiphi imicimbi emikhulu ayisaqoshwa ku-biography yakhe. Uzungezwe udumo nenhlonipho, abafundi abavela emhlabeni wonke bathutheleka kuye, uqhuba ikhonsathi eqinile - imisebenzi eyedwa kanye neqoqo.

Kabili (ngo-1872, 1884) u-Joachim weza eRussia, lapho ukudlala kwakhe njengomuntu oyedwa kanye nobusuku be-quartet kwaba yimpumelelo enkulu. Wanikeza iRussia umfundi wakhe ongcono kakhulu, u-L. Auer, owaqhubeka lapha futhi wathuthukisa amasiko kathisha wakhe omkhulu. Abadlali beviolin baseRussia u-I. Kotek, K. Grigorovich, I. Nalbandyan, I. Ryvkind baya kuJoachim ukuze bathuthukise ubuciko babo.

Ngo-April 22, 1891, usuku lokuzalwa luka-Joachim lwama-60 lwagujwa eBerlin. Ukuhlonipha kwenzeke ekhonsathini yokugubha usuku lokuzalwa; i-orchestra yezintambo, ngaphandle kwama-bass aphindwe kabili, ikhethwe ngokukhethekile kubafundi beqhawe losuku - i-24 yokuqala kanye nenani elifanayo le-violin yesibili, i-violas engu-32, i-cellos engu-24.

Eminyakeni yamuva nje, u-Joachim usebenze kakhulu nomfundi wakhe nombhali wempilo yokuphila kwakhe u-A. Moser ekuhleleni i-sonatas ne-partitas ka-J.-S. Bach, ama-quartets kaBeethoven. Wabamba iqhaza elikhulu ekuthuthukisweni kwesikole se-violin sika-A. Moser, ngakho igama lakhe livela njengombhali-mbhali. Kulesi sikole, izimiso zakhe zokufundisa zilungisiwe.

UJoachim washona ngo-August 15, 1907.

Ababhali bomlando wokuphila kukaJoachim Moser noVasilevsky bahlola imisebenzi yakhe ngokukhulu ukuthambekela, bekholelwa ukuthi nguye onelungelo "lokuthola" i-violin Bach, esakaza amaquartets okugcina e-Concerto ne-Beethoven. Ngokwesibonelo, uMoser uyabhala: “Uma eminyakeni engamashumi amathathu edlule kuphela ochwepheshe abambalwa ababenesithakazelo kuyi-Beethoven yokugcina, manje, ngenxa yokuphikelela okukhulu kwe-Joachim Quartet, inani labathakazelayo liye landa lafinyelela imingcele ebanzi. Futhi lokhu akusebenzi kuphela eBerlin naseLondon, lapho i-Quartet inika khona amakhonsathi njalo. Nomaphi lapho abafundi benkosi behlala futhi besebenza khona, kuze kufike eMelika, umsebenzi kaJoachim kanye neQuartet yakhe uyaqhubeka.

Ngakho-ke lesi senzakalo se-epochal kwavela ukuthi sibangelwa u-Joachim ngokungazi. Ukuvela kwentshisekelo emculweni kaBach, ikhonsathi yevayolini kanye namaquartets okugcina kaBeethoven kwakwenzeka yonke indawo. Kwakuyinqubo evamile eyathuthukiswa emazweni aseYurophu anesiko eliphezulu lomculo. Ukulungisa imisebenzi ka-J.-S. U-Bach, u-Beethoven esiteji sekhonsathi kwenzeka ngempela maphakathi nekhulu lesi-XNUMX, kodwa inkulumo-ze yabo iqala kudala ngaphambi kukaJoachim, ivula indlela yemisebenzi yakhe.

Ikhonsathi kaBeethoven yenziwa nguTomasini eBerlin ngo-1812, yi-Baio eParis ngo-1828, yi-Viettan eVienna ngo-1833. I-Viet Tang yayingomunye wabantu bokuqala abadumile kulo msebenzi. I-Beethoven Concerto yenziwa ngempumelelo eSt. Petersburg nguL. Maurer ngo-1834, ngu-Ulrich eLeipzig ngo-1836. “Emvuselelweni” kaBach, imisebenzi kaMendelssohn, uClara Schumann, uBulow, uReinecke nabanye yayibaluleke kakhulu. Ngokuqondene nama-quartets okugcina kaBeethoven, ngaphambi kukaJoachim banake kakhulu i-Quartet kaJoseph Helmesberger, okwathi ngo-1858 yazama ukwenza esidlangalaleni ngisho ne-Quartet Fugue (Op. 133).

Ama-quartets okugcina kaBeethoven afakwe ku-repertoire ye-ensemble eholwa nguFerdinand Laub. E-Russia, ukusebenza kuka-Lipinski kwe-quartets yokugcina ye-Beethoven endlini kaDollmaker ngo-1839 kwamjabulisa uGlinka. Ngesikhathi behlala eSt. Petersburg, babevame ukudlalwa yiVietanne ezindlini zaseVielgorskys naseStroganovs, futhi kusukela ngeminyaka yama-50s baye bangena ngokuqinile emculweni we-Albrecht, Auer, neLaub Quartets.

Ukusatshalaliswa ngobuningi kwale misebenzi kanye nentshisekelo kuyo kwenzeka ngempela kusukela maphakathi nekhulu lesi-XNUMX, hhayi ngoba u-Joachim wavela, kodwa ngenxa yesimo senhlalo esadalwa ngaleso sikhathi.

Ubulungisa budinga, nokho, ukubona ukuthi kuneqiniso elithile ekuhloleni kukaMoser ukufaneleka kuka-Joachim. Kulele eqinisweni lokuthi u-Joachim wadlala indima evelele ekusakazeni nasekudumeni kwemisebenzi kaBach noBeethoven. Inkulumo-ze yabo ngokungangabazeki yayiwumsebenzi wayo yonke impilo yakhe yokudala. Lapho evikela imibono yakhe, wayenezimiso, akazange ayekethise ezindabeni zobuciko. Ezibonelweni zomzabalazo wakhe wothando ngomculo weBrahms, ubudlelwano bakhe noWagner, uLiszt, ungabona ukuthi wayeqine kangakanani ezahlulelweni zakhe. Lokhu kuboniswe ezimisweni zobuhle zika-Joachim, owadonsela kuma-classics futhi wamukela izibonelo ezimbalwa ezivela ezincwadini zothando ze-virtuoso. Isimo sakhe sengqondo esibucayi kuPaganini siyaziwa, ngokuvamile esifana nesimo sikaSpohr.

Uma okuthile kwamdumaza ngisho nasemsebenzini wabaqambi abaseduze naye, wahlala ezikhundleni zokunamathela ngomgomo ezimisweni. I-athikili ka-J. Breitburg mayelana no-Joachim ithi, ngemva kokuthola okuningi "okungewona ama-Bachian" ekuhambisaneni kuka-Schumann ne-cello suite ka-Bach, wakhuluma ngokumelene nokushicilelwa kwabo futhi wabhalela u-Clara Schumann ukuthi akufanele "ngokuzithoba engeze ... a iqabunga elibunile” emqheleni womqambi wokungafi . Ecabangela ukuthi ikhonsathi yevayolini kaSchumann, eyabhalwa ezinyangeni eziyisithupha ngaphambi kokufa kwakhe, iphansi kakhulu kunezinye izingoma zakhe, uyabhala: “Yeka ukuthi kubi kanjani ukuvumela ukuzindla kulawule lapho sijwayele ukuthanda nenhlonipho ngayo yonke inhliziyo yethu!” Futhi uBreitburg uyanezela: “Wayephethe lobu bumsulwa namandla engqondo ezikhundla ezimisiwe emculweni ezingangcolisiwe kuyo yonke impilo yakhe yokudala.”

Ekuphileni kwakhe siqu, ukunamathela okunjalo ezimisweni, ukuqina nokuziphatha, ngezinye izikhathi waphendukela Joachim ngokwakhe. Ubengumuntu onzima kuyena nakulabo abaseduze kwakhe. Lokhu kufakazelwa yindaba yomshado wakhe ongafundeki ngaphandle kokuphatheka kabi. Ngo-April 1863, uJoachim, ngesikhathi ehlala eHannover, wathembisana umshado no-Amalia Weiss, umculi onethalente (contralto), kodwa wakwenza kwaba umbandela womshado wabo ukuyeka umsebenzi wasesiteji. U-Amalia wavuma, nakuba yena ngaphakathi ephikisana nokuphuma esiteji. Izwi lakhe lalihlonishwa kakhulu amaBrahms, futhi eziningi zezingoma zakhe zazibhalelwe yena, kuhlanganise no-Alto Rhapsody.

Nokho, u-Amalia akakwazanga ukugcina amazwi akhe futhi azinikele ngokuphelele emndenini wakhe nakumyeni wakhe. Ngokushesha ngemva komshado, wabuyela esiteji sekhonsathi. UGeringer uyabhala: “Ukuphila komshado womshayi wevayolini odumile, kancane kancane kwaba nokungajabuli, njengoba umyeni wayeba nesikhwele esicishe sibe yisifo esibi, esasivuswa njalo indlela yokuphila uMama Joachim ngokwemvelo ayephoqwe ukuba ayiphile njengomculi wekhonsathi.” Ukungqubuzana phakathi kwabo kwanda ikakhulukazi ngo-1879, lapho uJoachim esola umkakhe ngokuba nobuhlobo obuseduze nommemezeli uFritz Simrock. U-Brahms uyangenelela kule ngxabano, eqiniseka ngokuphelele ngobumsulwa buka-Amalia. Unxenxa uJoachim ukuba abuyele ezingqondweni futhi ngo-December 1880 wathumela incwadi ku-Amalia, kamuva eyaba isizathu sokuhlukana kwabangane: “Angikaze ngithethelele umyeni wakho,” kubhala uBrahms. “Ngisho nangaphambi kwakho, bengisazi isimo esingesihle sobuntu bakhe, ngenxa yalokho u-Joachim azihlupha ngokungenakuthethelelwa yena nabanye” … Futhi uBrahms uzwakalisa ithemba lokuthi konke kusazokwakhiwa. Incwadi kaBrahms yavela ezinqubweni zesehlukaniso phakathi kukaJoachim nomkakhe futhi yamcasula kakhulu lo mculi. Ubungane bakhe noBrahms baphela. UJoachim wahlukanisa ngo-1882. Ngisho nakule ndaba, lapho uJoachim enephutha ngokuphelele, ubonakala eyindoda enezimiso eziphakeme zokuziphatha.

UJoachim wayeyinhloko yesikole se-violin saseJalimane engxenyeni yesibili yekhulu lesi-XNUMX. Amasiko alesi sikole abuyela emuva ngoDavid kuya ku-Spohr, ohlonishwa kakhulu u-Joachim, futhi ukusuka e-Spohr kuya e-Roda, e-Kreutzer nase-Viotti. Ikhonsathi ka-Viotti yamashumi amabili nesibili, amakhonsathi ka-Kreutzer no-Rode, uSpohr kanye noMendelssohn akha isisekelo se-pedagogical repertoire yakhe. Lokhu kwalandelwa uBach, Beethoven, Mozart, Paganini, Ernst (ngezilinganiso ezilinganiselwe kakhulu).

Izingoma zika-Bach kanye ne-Beethoven's Concerto zithathe indawo emaphakathi ku-repertoire yakhe. Mayelana nendlela adlala ngayo i-Beethoven Concerto, uHans Bülow wabhala kuyi-Berliner Feuerspitze (1855): “Lobu busuku buyohlala bungenakulibaleka futhi kuwukuphela kwenkumbulo yalabo ababenale njabulo yobuciko eyagcwalisa imiphefumulo yabo ngenjabulo ejulile. Akuyena uJoachim odlale uBeethoven izolo, uBeethoven ngokwakhe udlalile! Lokhu akusasebenzi kohlakaniphe kakhulu, lokhu kuyisambulo uqobo lwaso. Ngisho nomuntu ongabaza kakhulu kufanele asikholelwe isimangaliso; akukho ukuguqulwa okunjalo osekwenzekile. Awukaze nanini ngaphambili umsebenzi wobuciko ubonwe ngokucace kangaka nangokukhanyiseleka, akukaze nanini kube ukungafi kuguqulwe kube iqiniso eliqhakazile ngendlela ethobeke futhi ekhazimulayo. Kufanele uguqe ngamadolo ulalele lolu hlobo lomculo.” U-Schumann ubize u-Joachim ngomhumushi ongcono kakhulu womculo oyisimangaliso ka-Bach. U-Joachim uhlonishwa ngohlelo lokuqala lobuciko langempela lwe-sonatas ka-Bach kanye nezikolo ze-violin eyedwa, isithelo somsebenzi wakhe omkhulu, ocabangelayo.

Uma sibheka ukubuyekezwa, ukuthamba, ububele, imfudumalo yothando yayidlangile emdlalweni ka-Joachim. Yayinomsindo omncane kodwa omnandi kakhulu. Ukukhuluma okunesivunguvungu, ukufutheka kwakungajwayelekile kuye. UTchaikovsky, eqhathanisa ukusebenza kuka-Joachim noLaub, wabhala ukuthi u-Joachim uphakeme kunoLaub “ngokukwazi ukukhipha imiculo ethambile ethinta inhliziyo”, kodwa engaphansi kwakhe “ngamandla ephimbo, ngothando namandla ahloniphekile.” Ukubuyekezwa okuningi kugcizelela ukuvinjelwa kukaJoachim, futhi uCui uyamthuka ngisho nangenxa yokubanda. Kodwa-ke, empeleni kwakuwubunzima bowesilisa, ubulula kanye nokuqina kwesitayela sakudala sokudlala. Ekhumbula indlela uJoachim adlala ngayo noLaub eMoscow ngo-1872, umhlaziyi womculo waseRussia u-O. Levenzon wabhala: “Siyikhumbula ngokukhethekile iculo le-Spohr; lokhu kudlala bekuwumncintiswano weqiniso phakathi kwamaqhawe amabili. Yeka ukuthi ukudlala kwakudala okuzolile kuka-Joachim kanye nomoya ovuthayo we-Laub kuwuthinte kanjani lo mdlalo! Njengoba manje sikhumbula umsindo omise okwensimbi ka-Joachim kanye ne-cantilena evuthayo yaseLaub.

"I-classical eqinile, "yamaRoma," ebizwa ngokuthi u-Joachim Koptyaev, esidwebela isithombe sakhe: "Ubuso obugundwe kahle, isilevu esibanzi, izinwele eziqinile zikanywe ngemuva, ukuziphatha okuzithibe, ukubukeka okwehlisiwe - kwanikeza ngokuphelele umbono we umfundisi. Nangu uJoachim esiteji, wonke umuntu ubambe umoya. Akukho okuyisisekelo noma okwedemoni, kodwa ukuzola okuqinile kwe-classical, okungawavuli amanxeba angokomoya, kodwa kuyawaphulukisa. UmRoma wangempela (hhayi wenkathi yokuwohloka) esiteji, i-classic eqinile - lokho kuzwakala ku-Joachim.

Kuyadingeka ukusho amazwi ambalwa mayelana Joachim umdlali ensemble. Lapho uJoachim ehlala eBerlin, lapha wadala i-quartet eyayibhekwa njengenye yezinto ezinhle kakhulu emhlabeni. Iqoqo lalihlanganisa, ngaphezu kuka-Joachim G. de Ahn (kamuva owathathelwa indawo u-K. Galirzh), u-E. Wirth no-R. Gausman.

Mayelana noJoachim i-quartetist, ikakhulukazi mayelana nencazelo yakhe yamaquartets okugcina kaBeethoven, u-AV Ossovsky wabhala: “Kulezi zidalwa, ezikhanga ngobuhle bazo obumangalisayo nokujula okumangalisayo okungaqondakali, umqambi ohlakaniphile nomqambi wakhe babengabafowabo bomunye nomunye emoyeni. Akumangalisi ukuthi uBonn, indawo okwazalelwa kuyo uBeethoven, wethula uJoachim ngo-1906 isihloko sesakhamuzi esihloniphekile. Futhi lokho abanye abadlali abahlukana ngakho - i-adagio ne-andante ka-Beethoven - yibona abanikeze u-Joachim isikhala sokusebenzisa wonke amandla akhe obuciko.

Njengomqambi, uJoachim akazange adale noma yini enkulu, nakuba uSchumann noLiszt babezazisa kakhulu izingoma zakhe zakuqala, futhi uBrahms wathola ukuthi umngane wakhe “unokungaphezu kwabo bonke abanye abaqambi abasha ehlanganiswe ndawonye.” U-Brahms ubuyekeze ama-overtures amabili ka-Joachim ophiyano.

Wabhala izingcezu ezimbalwa ze-violin, i-orchestra nepiyano (i-Andante ne-Allegro op. 1, "Romance" op. 2, njll.); amaculo amaningana e-orchestra: “Hamlet” (engakaqedwa), emdlalweni kaSchiller othi “Demetrius” nasenhlekeleleni kaShakespeare ethi “Henry IV”; 3 amakhonsathi evayolini kanye ne-orchestra, ehamba phambili kuwo i-Concerto on Hungarian Themes, evame ukwenziwa ngu-Joachim nabafundi bakhe. Ama-edishini nama-cadence ka-Joachim aye (futhi alondolozwe kuze kube namuhla) – izinhlelo ze-sonatas ka-Bach kanye ne-partitas ye-violin eyedwa, ukuhlelwa kwevayolini nepiyano ye-Brahms's Hungarian Dances, ama-cadenza amakhonsathi ka-Mozart, Beethoven, Viotti , Brahms, esetshenziswa ekhonsathini yesimanje nasekufundiseni.

U-Joachim wabamba iqhaza elikhulu ekwakhiweni kwe-Brahms Concerto futhi waba ngumdlali wayo wokuqala.

Isithombe sokudala sika-Joachim besingeke siphelele uma umsebenzi wakhe wokufundisa wedlula ngokuthula. I-pedagogy ka-Joachim yayifunde kakhulu futhi ingaphansi kwezimiso zobuciko zokufundisa abafundi. Umphikisi wokuqeqeshwa kwemishini, wakha indlela eyavula indlela yekusasa ngezindlela eziningi, njengoba yayisekelwe esimisweni sobunye bokuthuthukiswa kobuciko nobuchwepheshe bomfundi. Lesi sikole, esibhalwe ngokubambisana noMoser, sifakazela ukuthi ezigabeni zokuqala zokufunda, uJoachim wayephumputha izici zendlela yokuzwa, etusa amasu anjalo okuthuthukisa izindlebe zomculo zabashayi bevayolini abayizimfundamakhwela njengokuxazulula inkinga: “Kubaluleke kakhulu ukuthi umculo womfundi uphumelele. isethulo sihlakulelwe kuqala. Kumele acule, acule futhi aphinde acule. UTartini usevele wathi: “Umsindo omuhle udinga ukucula okuhle.” Umshayi-vayolini osaqalayo akufanele akhiphe umsindo owodwa angakaze awukhiqize ngezwi lakhe ngaphambilini ... "

U-Joachim wayekholelwa ukuthi ukuthuthukiswa kwe-violinist akunakuhlukaniswa nohlelo olubanzi lwemfundo yobuhle bobuhle, ngaphandle kwalokho ukuthuthukiswa kwangempela kokunambitheka kobuciko akunakwenzeka. Isidingo sokuveza izinhloso zomqambi, ukudlulisa ngendlela efanele isitayela nokuqukethwe komsebenzi, ubuciko “boguquko lobuciko” – lezi izisekelo ezingenakunyakaziswa zendlela yokufundisa ka-Joachim. Kwakungamandla obuciko, ikhono lokuthuthukisa ukucabanga kobuciko, ukunambitheka, nokuqonda umculo kumfundi ukuthi u-Joachim wayemkhulu njengothisha. U-Auer uyabhala: “Wayeyisambulo sangempela kimi, eveza phambi kwamehlo ami ubuciko obuphakeme kangangokuthi ngangingakwazi ukuqagela kuze kube yileso sikhathi. Ngaphansi kwakhe, angizange ngisebenze ngezandla zami kuphela, kodwa nangekhanda lami, ngifunda inqwaba yabaqambi futhi ngizama ukungena ekujuleni kwemibono yabo. Sadlala umculo omningi we-chamber namaqabane ethu futhi salalela izinombolo zodwa, silungisa futhi silungisa amaphutha omunye nomunye. Ngaphezu kwalokho, saba nengxenye emakhonsathini e-symphony aqhutshwa u-Joachim, esasiziqhenya kakhulu ngawo. Ngezinye izikhathi ngamaSonto, uJoachim wayeba nemihlangano yamaquartet, nathi, abafundi bakhe, esasimenywa kuyo.”

Mayelana nobuchwepheshe bomdlalo, wanikezwa indawo engasho lutho ku-pedagogy kaJoachim. “UJoachim wayengavamile ukungena emininingwaneni yobuchwepheshe,” sifunda ku-Auer, “akazange achazele abafundi bakhe indlela yokufinyelela kalula ezobuchwepheshe, indlela yokufeza lokhu noma lokho kushaywa unhlangothi, indlela yokudlala iziqephu ezithile, noma indlela yokwenza kube lula ukusebenza ngokusebenzisa iminwe ethile. Phakathi nesifundo, wayephethe i-violin nomnsalo, futhi ngokushesha nje lapho ukusebenza kwendima noma ibinzana lomculo lomfundi kungamanelisi, wadlala ngobuhlakani indawo engabazekayo. Wayengavamile ukuziveza ngokucacile, futhi okuwukuphela kwenkulumo ayisho ngemva kokudlala indawo yomfundi ofeyilile kwaba ukuthi: “Kufanele uyidlale kanjalo!”, ehambisana nokumamatheka okuqinisekisayo. Ngakho, labo kithi ababekwazi ukuqonda uJoachim, ukulandela iziqondiso zakhe ezingacacile, bazuza kakhulu ngokuzama ukumlingisa ngangokunokwenzeka; abanye, bengajabule kangako, bahlala bemile, bengaqondi lutho ... "

Sithola ukuqinisekiswa kwamagama ka-Auer kweminye imithombo. N. Nalbandian, ngemva kokungena ekilasini likaJoachim ngemva kweSt. Ukulungiswa kwezikhathi zesiteji, ngokusho kwakhe, akuzange kumthakazelise nhlobo uJoachim. Ngokuphawulekayo, eBerlin, uJoachim waphathisa umsizi wakhe u-E. Wirth ukuqeqeshwa kobuchwepheshe kwabafundi. Ngokuka-I. Ryvkind, owafunda noJoachim eminyakeni yokugcina yokuphila kwakhe, u-Wirth wasebenza ngokucophelela, futhi lokhu kwenza ngokuphawulekayo ukushiyeka kwesimiso sikaJoachim.

Abafundi bakhonza uJoachim. U-Auer wezwa uthando oluthinta inhliziyo nokuzinikela kuye; wanikela ngemigqa efudumele kuye ezincwadini zakhe zesikhumbuzo, wathumela abafundi bakhe ukuba bathuthuke ngesikhathi lapho yena ngokwakhe esenguthisha odumile emhlabeni wonke.

“Ngadlala ikhonsathi kaSchumann eBerlin nePhilharmonic Orchestra eyayiqhutshwa u-Arthur Nikisch,” kukhumbula uPablo Casals. “Ngemuva kwekhonsathi, amadoda amabili eza kimi kancane, enye yawo, njengoba ngase ngibonile, yayingaboni lutho. Lapho bephambi kwami, lowo owayehola impumputhe ngengalo wathi: “Animazi? Lona nguSolwazi Wirth” (umhluzi weviyoli ovela ku-Joachim Quartet).

Udinga ukwazi ukuthi ukufa kukaJoachim omkhulu kwadala igebe phakathi kwabalingani bakhe kangangokuthi kwaze kwaba sekupheleni kwezinsuku zabo abakwazanga ukwamukela ukulahlekelwa yi-maestro yabo.

USolwazi Wirth ngokuthula waqala ukuzwa iminwe yami, izingalo, isifuba. Wabe esengigona, wangiqabula futhi ngomoya ophansi wathi endlebeni yami: “UJoachim akafile!”.

Ngakho kubangane baka-Joachim, abafundi bakhe nabalandeli, wayengumuntu ongcono kakhulu futhi uhlala esezingeni eliphakeme kakhulu lobuciko be-violin.

L. Raaben