both of which he secured for his son Frederick in 1551. When Frederick died in the following year, the elector's son Sigismund obtained the two sees; and on Sigismund's death in 1566 Magdeburg was secured by his nephew, Joachim Frederick, afterwards elector of Brandenburg. Joachim, who was a prince of generous and cultured tastes, died at Köpenick on the 3rd of January 1571, and was succeeded by his son, John George. In 1880 a statue was erected to his memory at Spandau. See Steinmüller, _Einführung der Reformation in die Kurmark Brandenburg durch Joachim II._ (1903); S. Isaacsohn, "Die Finanzen Joachims II." in the _Zeitschrift für Preussische Geschichte und Landeskunde_ (1864-1883); J. G. Droysen, _Geschichte der Preussischen Politik_ (1855-1886). JOACHIM, JOSEPH (1831-1907), German violinist and composer, was born at Kittsee, near Pressburg, on the 28th of June 1831, the son of Jewish parents. His family moved to Budapest when he was two years old, and he studied there under Serwaczynski, who brought him out at a concert when he was only eight years old. Afterwards he learnt from the elder Hellmesberger and Joseph Böhm in Vienna, the latter instructing him in the management of the bow. In 1843 he went to Leipzig to enter the newly founded conservatorium. Mendelssohn, after testing his musical powers, pronounced that the regular training of a music school was not needed, but recommended that he should receive a thorough general education in music from Ferdinand David and Moritz Hauptmann. In 1844 he visited England, and made his first appearance at Drury Lane Theatre, where his playing of Ernst's fantasia on _Otello_ made a great sensation; he also played Beethoven's concerto at a Philharmonic concert conducted by Mendelssohn. In 1847-1849 and 1852 he revisited England, and after the foundation of the popular concerts in 1859, up to 1899, he played there regularly in the latter part of the season. On Liszt's invitation he accepted the post of _Konzertmeister_ at Weimar, and was there from 1850 to 1853. This brought Joachim into close contact with the advanced school of German musicians, headed by Liszt; and he was strongly tempted to give his allegiance to what was beginning to be called the "music of the future"; but his artistic convictions forced him to separate himself from the movement, and the tact and good taste he displayed in the difficult moment of explaining his position to Liszt afford one of the finest illustrations of his character.