The extraordinary artistic friendship between Johannes Brahms and Joseph Joachim is among the most remarkable musical connections of the 19th century. They immediately recognized each other as kindred spirits, as Joachim enthused: "I have never encountered such a great talent." In their early years of rapture, they addressed each other in letters as "My beloved Johannes" or "Dearest Joseph!", "My dearest friend" or "My dearest friend."
Their acquaintance began in 1853 when Brahms came to Hanover as the piano accompanist for the Hungarian violinist Eduard Reményi, where Joachim was already serving as the royal concertmaster. Although Brahms was still a newcomer at the time, a deep connection quickly developed. When Reményi abruptly left Brahms shortly thereafter, the path was clear for a partnership that would achieve historical significance in music.
For Brahms, the elder Joachim acted as a gateway into the world of art, allowing him access to his professional network. Their friendship was not only a personal bond but also artistically productive. Like kindred spirits, they developed alongside and intertwined each other.
However, this extraordinary relationship also experienced a severe crisis. The forms of address in their letters seismographically reflected the state of their friendship—during the crisis, one reads only a distant "Dear Master!" or "Most Revered." The deep rift occurred when Brahms sided with Joachim's wife, Amalie, in the divorce proceedings. But in the end, the "Dear Friend" prevailed once more—their bond survived this ordeal.
Without the violinist Joseph Joachim, Brahms would likely never have composed his Violin Concerto. The work stands as a testament to and expression of their long-standing friendship, which, despite all its ups and downs, has entered the annals of music history.