This book reconsiders the significance of the salon as a social and cultural phenomenon and as a source of artistic innovation and exchange in the long nineteenth century. This collection explores the idea of music in the salon during the long nineteenth century, both as a socio-cultural phenomenon, and as a source of artistic innovation and exchange. Drawing on a wide range of scholarly approaches,this book uses the idea of the salon as a springboard to examine issues such as gender, religion, biography and performance; to explore the ways in which the salon was represented in different media; and to showcase the heterogeneity of the salon through a selection of case studies. It offers fresh considerations of familiar salons in large cultural centres, as well as insights into lesser-known salons in both Europe and the United States. Bringing together an international group of scholars, the collection underscores the enduring impact of the European musical salon. ANJA BUNZEL holds a research position at the Czech Academy of Sciences. She gained her PhD in Musicology from Maynooth University and has published on Johanna Kinkel and nineteenth-century salon culture in both English and German. NATASHA LOGES is Head of Postgraduate Programmes at the Royal College of Music, London. Her publications include Brahms in the Home and the Concert Hall (Cambridge, 2014) and Brahms and his Poets (Boydell Press, 2017). She is a pianist, broadcaster and critic. Contributors: Maren Bagge, PeterBozo, Anja Bunzel, Katie A. Callam, Beatrix Darmstadter, Mary Anne Garnett, Harald Krebs, Clemens Kreutzfeldt, Veronika Kusz, Natasha Loges, Jennifer Ronyak, Kirsten Santos Rutschman, R. Larry Todd, Katharina Uhde, Michael Uhde, Harry White, Petra Wilhelmy-Dollinger, Susan Youens

Joseph Joachim (1831-1907) was arguably the greatest violinist of the nineteenth century. But Joachim was also a composer of virtuoso pieces, violin concertos, orchestral overtures and chamber music works. Uhde's book will be thestandard work on the music of Joseph Joachim for many years to come. Joseph Joachim (1831-1907), of Jewish-Hungarian descent, was arguably the greatest violinist of the nineteenth century. His performing career in Berlin transformed the aesthetics and interpretation of German music. But Joachim wasalso a composer of virtuoso pieces, violin concertos, orchestral overtures, and chamber music works, all written between 1847 and 1864 in one intense outpouring of creativity. Katharina Uhde follows Joachim's compositionalpath through a changing cultural milieu. Joachim's compositions display intimate knowledge of the works of Mendelssohn, Wagner, Liszt, Schumann, and Brahms, yet he was no mere imitator. Joachim's style, classically conceived yetseasoned with a preference for dark, melancholy soundscapes and, in the earlier years, ciphers, virtuosity, and 'psychological' programmaticism, emerges as the product of various personal and socio-cultural currents: his search for national, religious, and cultural identity and a mature compositional style. Joachim's music drew on a wealth of treasures accumulated in his process of 'enculturation', which began with Mendelssohn in Leipzig. Joachim'saesthetic evolved from a deeply subjective approach, not insignificantly inspired by his muse, Gisela von Arnim. Her circle - the von Arnim and Grimm families - became Joachim's cultural and literary haven. But unforeseen events also impacted his output, among them Schumann's death, the ascent of the young Brahms, and the 'War of the Romantics'. Joachim's music throws light onto a vibrant decade, colored by realism, naturalism, new visual technologies, andemerging academic disciplines including psychology. Uhde's book will be the standard work on the music of Joseph Joachim for many years to come. KATHARINA UHDE is Assistant Professor for Violin and Musicology at Valparaiso University, IN.