S0381. JOSEPH FUCHS, w.Artur Balsam (Pf.): Vol. 3, Violin Sonatas Nos. 8, 9, & 10 (all Beethoven). (Germany) Naxos 8.111253, recorded 1952, Decca. Transfers by Victor & Marina Ledin. - 747313325320
“These brilliantly articulate and communicative performances are from two musicians of the highest accomplishment who, nevertheless, chose to perform as a dedicated duo team for many years in the middle of the last century….Fuchs and Balsam play into each other’s hands with an easy grace….in these sonatas which were, after all, described by Beethoven himself as ‘for piano and violin’.”
– Graham Silcock, CLASSIC RECORD COLLECTOR, Summer, 2009
“…Joseph Fuchs’ 1952 American Decca set of the complete Beethoven Violin sonatas with pianist Artur Balsam [is] music-making of the highest order, spirited, intelligent, technically immaculate and with a profound understanding of Classical style.”
- Rob Cowan, GRAMOPHONE, March, 2009
“Joseph Fuchs, an American violinist long acclaimed for his vigorous, intelligent and technically assured performances of old and new music and for the quality of his teaching, was one of those select musicians admired as much by his peers as by audiences. He played not only the standard repertory but also works by such contemporaries as Stravinsky, Thomson and Hindemith. He pioneered in the performance of music by Ben Weber, Nikolai Lopatnikoff and Walter Piston. [A Ford Foundation grant in 1960 enabled him to commission Walter Piston’s Violin Concerto, the première of which he gave that year in Pittsburgh. Fuchs also gave the first performances of concertos by Lopatnikoff (1944–5), Ben Weber (1954) and Mario Peragallo (1955); of Martin’s Madrigal for violin and viola, dedicated to Fuchs and his sister Lillian (1947); of the revised version of Vaughan Williams’s Violin Sonata, with Artur Balsam (1969), and of the posthumous American première of Martin’s Sonata for two violins and piano (1974).]
‘Joseph Fuchs is the kind of violinist who makes you listen not to himself but to the music, and there is no higher compliment you can pay an artist’, Raymond Ericson wrote in THE NEW YORK TIMES after a 1960 recital at Town Hall.
Joseph Fuchs studied with the noted Franz Kneisel at the Institute of Musical Art, now the Juilliard School, and graduated in 1918. He gave his New York début recital in 1920 at Aeolian Hall. In 1926 Mr. Fuchs was appointed concertmaster of the Cleveland Orchestra, a post he held until 1940. After Cleveland, he resumed his solo career. He gave his last recital, at Carnegie Hall, in 1992 and his last public performance, at the Juilliard School, in 1995 [at age 95].
He often appeared in concert with his sister, Lillian Fuchs, a violist. Mr. Fuchs also collaborated regularly with the pianist Artur Balsam and the cellist Leonard Rose. Mr. Fuchs was a founding member of the Musicians Guild, a chamber music organization that presented many concerts during the 1940s and ‘50s. A true upholder of the Kneisel tradition, he called chamber music his 'true love’. He became a professor of violin at the Juilliard School in 1946 and held the position until his death. He was a founder of the Blue Hill Music School in Maine in 1953, a summer program that evolved into the Summer Chamber Music Institute at Alfred University in Alfred, N.Y.
Mr. Fuchs made many recordings, including one of the first complete sets of the Beethoven violin sonatas, with Balsam in 1952. He also recorded Mozart's works for violin and viola, the duos and the Sinfonia Concertante, with his sister…vivid testimonials to his artistry. [He played the ‘Cádiz Stradivarius’ violin of 1722].”
- THE NEW YORK TIMES, 17 March, 1997