Von: Kevin Austin
Datum: 1. August 2010 15:53:23 MESZ
Betreff: Otto Joachim 1910-2010
Sunday, August 01, 2010
Composer revitalized music in Canada
His activities were as varied as those of any musician in the world
By ARTHUR KAPTAINIS, The Gazette August 1, 2010 4:04 AM
Additional material, Kevin Austin, Montreal, 09:30 EDT
Otto Joachim, seen the week of his 99th birthday in his home in Cote
St Luc, was principal viola in the Montreal Symphony Orchestra (OSM).
He also founded the Montreal String Quartet.
Otto Joachim – composer, violist, teacher, electronic music pioneer,
instrument builder, painter and one of the sharpest wits in musical
Montreal -died late Friday at the Jewish General Hospital, less than
three months short of his 100th birthday. His son Davis Joachim said
the cause was heart failure.
One of scores of refugees from Nazi Germany who revitalized music in
Canada, this native of Dusseldorf, Germany, arrived in Montreal in
1949 after working for more than 15 years as a musician in Singapore
and Shanghai, including a stint at the Raffles Hotel in the former
city. While in the Orient, he had also worked in electronics shops
repairing radios and other equipment. He had continued to experiment
with building electronic instruments, something had been doing in
Germany starting around 1929.
Outstaying his Canadian visitor visa -his ultimate destination was
supposed to be Brazil -Joachim worked at an electronics shop while
waiting out the mandatory year of residence then required by the
Montreal Musicians‘ Guild. His interest in gadgetry never left him. It
was not unusual in the 21st century to find a disassembled computer on
the dining table of his home in Cote St. Luc. During the 1970s, he was
the Canadian distributor of EMS (England — Synthi etc) equipment,
selling equipment to composers, rock bands and even the RCMP. (They
bought two vocoders.)
When he finally secured a section position in the Montreal Symphony
Orchestra, Joachim found the erratic standards difficult to abide.
„The MSO consisted of old and young, but few young ones and quite a
few tolerated ones,“ he recalled last October, a few days before his
99th birthday. „The conductor was not strong enough to kick them out.“
As principal viola under the energetic young music director Zubin
Mehta in the mid-1960s, however, Joachim became one of the pillars of
the orchestra, along with his cellist brother, the late Walter
Joachim. He also founded (with Walter and the violinists Hyman Bress
and Mildred Goodman) the Montreal String Quartet, which performed
contemporary music (including Joachim’s own First String Quartet) as
well as standard repertoire. It made a notable recording of Glenn
Gould’s String Quartet and, with Gould, Brahms’s Piano Quintet.
Joachim’s activities from the 1950s to the 1970s were as varied as
those of any musician in the world. As a composer, he was unabashedly
atonal and avant-garde, employing serialism, exploiting the
possibilities of chance in music, and being actively involved in live
interactive electronics. His personal electronic music studio was the
third in Canada, the first being at the University of Toronto.
Yet in the 1950s Joachim also founded the Montreal Consort of Ancient
Instruments, years before early music was in vogue. Many of the
instruments in this ensemble, including portative organs, were of his
own manufacture. Like another central European Jewish composer exiled
by politics, Arnold Schoenberg, Joachim also cultivated a pastime as a
painter of expressionistic and hard-edge canvases. In his 70s, he took
up sculpture for a period of time but stopped when it became clear to
him that welding in his basement was much too hazardous and could
shorten his life.
Joachim taught chamber music at both McGill University and the
Montreal Conservatoire, adding notoriously earthy French to his
repertoire of languages. He is an Honorary Member of the Canadian
Electroacoustic Community / Communauté électroacoustique Canadienne
(CEC), and received an Honorary Doctorate from Concordia University,
Montreal in 1993. In 1996, the Concordia University Music Department
named its multi-channel studio, The Otto Joachim Production Studio.
As a composer, he had a notable success with Katimavik, a work on four-
track tape commissioned by the Canadian Pavilion at Expo 67. Around
then also he travelled to New York for a performance of his
Contrastes. There he met Elliott Carter, born in 1908 and in recent
years Joachim’s only elder among living composers of note.
Unlike Carter, Joachim did not mellow much in his 80s and 90s. In
Stacheldraht (Barbed Wire), a 1993 commission by the Societe de
musique contemporaine du Quebec, Joachim confronted the Holocaust in a
stark style. His Metamorphoses of 1994, a firmly atonal but bracingly
clear essay for orchestra, was premiered by the Orchestre
Metropolitain under Joseph Rescigno and revived in 2006 by the MSO
under Jacques Lacombe.
„It’s about 13 minutes,“ the composer said about Metamorphoses, „which
is long enough for any piece. Not that I would say Mahler and Bruckner
were wrong to write longer pieces. That was their right. I am only a
In recent years, his failing eyesight restricted his composition, but
not his music appreciation. Joachim was an avid listener to the radio
and recordings, showing a special interest last year in the music of
„He is not superhuman: He produced 20 children He’s pretty human, no?
Or he was superhuman to do that?“
Funeral arrangements were not finalized at press time.
Von: Jean-François Denis
Datum: 1. August 2010 21:01:55 MESZ
Betreff: Lien vers article en français. Re : Otto Joachim 1910-2010
Antwort an: email@example.com
Et pour les francophiles:
. . . . . . . . . .
. Jean-Francois Denis
. DIFFUSION i MeDIA – empreintes DIGITALes – No Type
. jfd @ electrocd.com – http://www.electrocd.com/
. 4580, avenue de Lorimier – Montreal, QC H2H 2B5 – CANADA