Joachim Raff
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Raff: Dame Kobold
$19.99CDNaxos
Apr 10, 20268660619-20 -
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Raff: Complete Piano Suites, Vol. 1
$19.99CDGrand Piano
Oct 10, 2025GP957 -
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Raff: Symphony No 2, Four Shakespeare Preludes / Jarvi, Suisse Romande
The four Shakespeare preludes also prove to be lots of fun. All are relatively short but well-orchestrated and atmospheric. Perhaps Romeo and Juliet is the tamest–it’s only nine minutes long and it’s not Tchaikovsky, but Othello is punchy and tense (and even shorter); The Tempest opens with an effective storm and features music that challenges you to figure out who the characters are that Raff illustrates; and Macbeth, possibly the best of all, spends a lot of time focused on the witches and, seemingly, the final battle. It’s great to have this music recorded, and terrifying to realize that the symphony is Raff’s Op. 140 and the preludes his WoO 49-52. My but that man could churn it out, couldn’t he? Fine playing and excellent sonics round out a release that deserves your attention.
-- David Hurwitz, ClassicsToday.com
Raff: Symphony No 6, Etc / Stadlmair, Bamberg So
Raff: Piano Trios No 1 & 4 / Trio Opus 8
Trio No. 4 (1870) launches in a challengingly fast 12/8 meter, creating an effect not unlike Schubert's Trout Quintet. Most interesting however is the Andante quasi larghetto, with its mournful Venetian Gondola Song first heard on the solo cello. From this opening Raff builds an Elegy of considerable expressive power before closing with a reprise of the plaintive melody. After this exquisite movement, the material of the robust finale seems rather prosaic, and it takes all the energy, imagination, and commitment Trio Opus 8 can muster to hold your interest. That they do is testament to the superlative talent of these three fine musicians, who shine in the remaining movements of both trios as well. As before, CPO's recording is close in perspective but manages to capture more bass information this time around. Both discs in this series are excellent, but this one is the top choice.
--Victor Carr Jr., ClassicsToday.com
Raff: Complete Music for Cello & Piano / Mendoes, Lim
This release includes one of Joachim Raff's major chamber works, the sonata for Cello and Piano of 1973, in its first recording. All the pieces here underline the importance of melody in Raff's music. This anthology is a treasure trove of lovely tunes, which Raff can spin with Schumannesque urgency and Schubertian charm.
Raff: Symphony No 5 "Lenore" / Jarvi, Suisse Romande
– Jonathan Woolf, MusicWeb International
A year on from the opener, this is a very generously filled second volume of Chandos's promising Raff symphony cycle. There are two previous recordings of the composer's eleven highly idiomatic, imaginative symphonies, long unjustly neglected by programmers and critics alike. The Bamberg Symphony Orchestra under Hans Stadlmair, recently released by Tudor in handy boxed set form (review, with further discographical information) is probably the critics' favourite, although it comes neither cheap nor without flaws. The forerunner was an early-Nineties series on Marco Polo with different orchestras, mainly from the Czech Republic and Slovakia, all but one under Urs Schneider: these are currently available from Naxos as mp3 downloads only (9.40248). In 2001 Naxos had the good idea of reissuing the Marco Polo recordings as physical discs under their own brand, but only two appeared (8.555411, 8.555491) and then the label either had a change of heart, or forgot.
Raff's programmatic 'Lenore' Symphony has three further modern recordings. One comes from a local rival to Järvi's ensemble, the Orchestra della Svizzera Italiana, conducted by Nicholas Carthy. A satisfactory, rather than compelling recording, it was brought out by Italian label Dynamic (CDS 283) well over a decade ago, and there has been no sign of any kind of follow-up since. Another version is Yondani Butt's with the Philharmonia Orchestra on ASV (DCA 1000), one performance in a long line by this determinedly uncontroversial conductor of almost clinical neutrality.
Finally there is Matthias Bamert and the Berlin Radio Symphony Orchestra on Koch Schwann, re-released as 367932, but dogged by poor sound. As for Chandos, despite the fact its audio quality was not as good as the SACD/24-bit/96kHz tags – abetted by one or two prominent reviews – implied, the first release immediately became the new standard for the Second Symphony. This is above all for the fact that Järvi is such a fine all-round conductor and the Suisse Romande a pedigree orchestra with a definite aptitude for Raff-era music. Back at the same Swiss location, that slight lossy edge to the audio is still there on this latest disc, yet the Chandos sound is still much superior to all its predecessors', and despite the imperfections constitutes a further plus-point for Järvi's cycle.
On the other hand, no further incentive should be required when the offering is one of Raff's most memorable works, the tune-packed, masterfully orchestrated Fifth Symphony. He chooses to focus – and then expatiate - on the nervous drama of Gottfried Bürger's famous but second-rate poem 'Lenore', rather than on its cold-blooded religious mania. The story is similar to Dvo?ák's later cantata Svatební Košile, known in English as The Spectre's Bride, which was based on a similar-themed ballad by Karol Jaromír Erben. This is doubly pertinent: Raff shares Dvo?ák's intuitive feel for lyrical drama. In Bürger, the eponymous Lenore is duped and then effectively buried alive for thinking herself in a state of despair neglected by God, but Raff's final-movement 'ride into hell' is jauntily mesmeric and ends with an uplifting chorale – moving, but certainly diverging from the implications of Bürger's chilling poem.
It is worth noting here that Järvi's account is a full ten minutes faster than Stadlmair, Carthy and Schneider. This is interesting enough in itself, but these three were already seven or eight minutes quicker than Bernard Herrmann's pioneering recording with the London Symphony Orchestra in 1970 — (most recently available on Unicorn UKCD 2031, but originally funded by Herrmann himself. Järvi is taking Raff at his word with his astonishingly fast metronome markings, but those who have had their opinions as to how this work should sound coloured by more leisurely approaches will likely need time to get used to these tempos, and those many long in thrall to Herrmann's account may possibly never accept them. The third movement Marsch-Tempo in particular will raise many eyebrows: Raff asks for, and Järvi gives – where no one else seemingly dares - 160 beats per minute, a good 50% more than what would normally be expected from a march. Yet odd as it initially sounds, the speed is still well within the bounds of a military double march.
Järvi's programme is amplified by a selection of overtures from Raff's operas, plus one of his own transcriptions – his only such, in fact - the 'Abends' Rhapsody. One or two of these are take-them-or-leave-them works by comparison with the symphony, though their Rossini-meets-Beethoven idiom is undeniably attractive, and their realisation here by the ever-dependable Swiss Romandes elegantly winning. Best of the four extras is the most substantial, the 'King Alfred' overture. Scored for large orchestra, it is a dramatic tone poem in all but name. The notes describe it as "grandiose in design, comparable in sweep and scope to Wagner's recent overture to Tannhäuser". The Rhapsody itself is a lovely, moodily crepuscular work, over all too quickly.
As for the CD booklet, Chandos continue apace with their shrinking-font policy, their texts tiny islands of ink in blank paper seas, legibility further hampered by the greyish ink. Still, the notes themselves are usually excellent, as indeed those here by Avrohom Leichtling are - detailed, informative, enthusiastic, trilingual. Bürger's poem might usefully have been included, if only to make use of some of that blank space.
– Byzantion, MusicWeb International
Joachim Raff: Overture To Prometheus Unbound; Incidental Music To The Drama Bernhard Von Weimar; Orchestral Intermezzi From The Oratorio World's End -
Joachim Raff: Violin Concerto No. 1 (Original Version); Suite For Solo Violin And Orchestra; La Fee D'amour
Raff: Complete Violin Sonatas, Vol. 1
Raff: Piano Works, Vol. 6
Raff: Symphony No 1 "to The Fatherland" / Friedman, Rhenish
RAFF: Symphonies Nos. 3 and 10
Raff: Piano Works, Vol. 4
Raff: Violin Sonatas No 1, 3, & 4 / Daskalakis, Ishay
Includes work(s) by various composers.
SYMPHONY NO. 1 'AN DAS VATERLA
Raff: String Quartets Nos. 2, 3, 4 & 8 / Mannheim String Quartet
SYMPHONY NO. 4, OUVERTURES 'BE
Raff: Piano Works, Vol. 2
Raff: Complete Violin Sonatas, Vol. 2 / Schneider, Kayaleh
Joachim Raff enjoyed enormous prestige with a reputation as Germany’s leading symphonist of his time. He also wrote music for the violin, an instrument he had mastered when young, and for which he wrote with great sympathy. The enduring success of his first two sonatas prompted him to write three more: the charming, genial and joyous Sonata in D major, the symphonically conceived Sonata in G minor which, uniquely for Raff’s violin works, is cast in a single movement, and a Sonata in C minor that, while often melancholic in tone, is still suffused with his trademark lyricism.
Raff: Benedetto Marcello / Nowak, Southwest German Radio Orchestra
This new release features a recording from the world premiere performance of the opera in Metzingen Stadthalle, Bad Urach, Germany, October 4th, 2002. The opera is set in Venice in 1727. In the house of Marcello, a musician and poet, two of his pupils Rosana and Faustina wait for their teacher who is late for their singing lesson. Marcello at last arrives, apologizes, and announces that instead of their lessons he wants them to sing for a guest of his, the famous composer Adolph Hasse, from Germany. Rosana sings first: a sad song about unrequited love. Hasse praises her warmly for singing from the heart, whereas Marcello is just puzzled by her sudden ability to find the correct tone. Faustina immediately recognizes that Rosana is singing about her love for Marcello and is irritated that he cannot see it himself. She then sings a joyful song about a nightingale, which leaves both Hasse and Marcello captivated. Hasse expresses his profound admiration for Marcello and she invites him to accompany her to a party that evening. Faustina is preparing for the evening and her thoughts turn to Hasse, and she realizes that she loves him. Hasse has quietly arrived and, overhearing her soliloquy, immediately tells Faustina that he has fallen in love with her too. Marcello, masked, arrives and stands outside Faustina’s rooms, consumed with love for her and intending to sing her a serenade. He hears the gondola bearing Faustina and Hasse approaching, and jealously listens to their loving conversation. Hiding while they enter her apartment, he vows revenge on Hasse. Marcello wants to pick a quarrel and both men draw their swords. Faustina, who has heard the commotion outside, opens her balcony window, sees the events below and collapses with a scream. Hasse leaves, telling Marcello that he may keep his life as a pledge of their friendship…
Joachim Raff: Chamber Music, Vol. 1 / Leipzig String Quartet
Joachim Raff was an autodidact. Having grown up in Switzerland, he first tried his hand with moderate success in numerous places as a composer of salon pieces. Franz Liszt became aware of the young man's talents and hired him as a kind of private secretary. In Weimar Raff orchestrated some of Liszt's early symphonic poems and gained his appreciation. This first recording by the Leipzig String Quartet shows that this was no accident. Raff's first two quartets are large-format works which reveal great ambitions. By the time Raff composed his first quartet in 1855, he was already beginning to emancipate himself from Liszt and the narrow circle of his friends. The "Neudeutsche Verein" had just been founded when Raff left him for Wiesbaden, in financially uncertain circumstances but artistic independence. And indeed, Raff's music cannot be pigeonholed either in the "New German" or the "Brahmsian" category - perhaps the reason why he was admired by such diverse colleagues as Richard Strauss, Peter Tchaikovsky or even Franz Liszt. His first quartet op. 77 was premiered by the famous Hellmesberger Quartet, who had already offered the podium to Franz Schubert and the late Beethoven. The second quartet op. 90 was also quickly adopted by the Viennese. The turning away from a harmonically fixed formal scheme is a trend-setting move; chromaticism and free harmony gain the upper hand over schoolmasterly counterpoint. Self-marketing was not Raff's thing. Rather prim in his private life, he rarely performed publicly, though he was an excellent pianist. He also gave his work away rather than negotiate reasonable fees. As founding director of the Hoch'sche Conservatory in Frankfurt he nevertheless enjoyed great recognition among his contemporaries. To rekindle this in our time, the new recording of the Leipzig String Quartet is a highly welcome beginning.
Raff: Piano Works, Vol. 3
Raff: Complete Works for Cello & Piano / Croisé, Shevchenko
The beautiful, lyrical music of prolific 19th-century Swiss composer Joachim Raff was widely performed during his lifetime but is relatively under-represented today. Who better than Christoph Croisé, Raff’s modern day compatriot, to breathe new life into the composer’s complete works for cello and piano. Raff’s chamber music, and especially his works for cello, were among his most notable achievements. Having established a career in Germany in the mid-1850’s, Raff encountered the eminent cellist Bernhard Cossman whose mastery of the instrument inspired the composer’s rich Romantic oeuvre. Christoph, who has “got it all – technical chops, impeccable musicianship” (Gramophone), puts a fresh, 21st-century spin on Raff’s memorable music resulting in this benchmark recording.
REVIEW:
The beautiful, lyrical music of prolific 19th-century Swiss composer Joachim Raff was widely performed during his lifetime but is relatively under-represented today. Who better than Christoph Croisé, Raff’s modern day compatriot, to breathe new life into the composer’s complete works for cello and piano. Raff’s chamber music, and especially his works for cello, were among his most notable achievements. Having established a career in Germany in the mid-1850’s, Raff encountered the eminent cellist Bernhard Cossman, whose mastery of the instrument inspired the composer. Croisé, joined by pianist Oxana Shevchenko, puts a fresh, 21st-century spin on Raff’s memorable music resulting in this benchmark recording.
-- WMFT, 98.7 FM (Chicago, IL)
Raff: Piano Four-Hands Sonatas / Wikman & Wikman
It was common practice in the nineteenth century for major orchestral and chamber works to be made available in piano four-hand reductions, as concert and recital-going was still a novelty and many middle-class homes had a piano, and these editions made such large works accessible to a much wider piano-playing public. What was less common was that Raff prepared his own piano four-hand arrangements, as often this time-consuming task was farmed out by composers and publishers to separate arrangers. However, Raff was also a skilled arranger himself. In addition to the original works mentioned above, he wrote a further eight works for piano four-hands which were either early pieces based on the melodies of other composers or more straightforward arrangements and transcriptions of the works of others, made at the request of publishers.
The Piano Four-Hands Sonata in E minor Op. 73b was arranged from the Violin Sonata No. 1, probably early in 1854 shortly after Raff finished work on the Sonata itself, but was not published by Schuberth until 1867, eight years after the original work, which had become the most successful of his five violin sonatas. The second work in the series, the Piano Four-Hands Sonata in A major Op. 90b, is an arrangement of the String Quartet No. 2, and was probably made immediately after Raff finished the Quartet in May 1857. The Quartet was published in 1862, but the Sonata remained in manuscript during Raff’s lifetime although it appears that as late as August 1881 Schuberth was preparing to publish it, as the company acknowledged receipt of Raff’s corrections of the proof. Publication never took place however, possibly because his death in June the next year intervened, and so it was not until the composer’s bicentenary year that Edition Nordstern published a first edition in 2022.
Raff: Dame Kobold
Raff: Chamber Music Vol. 2 - Quartets Opp. 138 & 192/2 / Leipziger String Quartet
To mark the 200th anniversary of the composer's birth, the renowned Leipzig String Quartet presents a world premiere recording of the 5th String Quartet from Joachim Raff's much under-appreciated chamber music. In addition, the four musicians present the quartet op. 192, no. 2 with the epithet "Schöne Müllerin" - and whoever immediately thinks of Schubert is not wrong, but still on the wrong track. For unlike Schubert's, there seems to be no tragic ending in Raff's wanderer's fate, but a better one. Here, too, the young man falls in love with the miller's daughter, here, too, there is - as the title of the 4th movement reveals - "unrest", but after an "explanation" the work ends in the snappy "Polterabend" (wedding-eve party). Why Raff did not then also compose a wedding remains his secret...
While the "Schöne Müllerin" is laid out like a suite, the 5th string quartet follows the classical form. Raff had already broken away from Liszt's influence, and so the work is characterized by the extremely skillful treatment of the often catchy motifs. The fast second movement is remarkable, its familiar variations breathing Mendelssohnian esprit. Again and again, the Viennese three-fourths blossoms. Is this a reverence to Joseph Hellmesberger, the primarius of many Raff premieres? In any case, the Leipzig String Quartet's joy in this life-affirming music is clearly audible!
Raff: Die Eifersüchtigen / Pitkänen, Orchestra of Europe
Sextet, Op. 178
Raff: World's End, Judgement, and New World / Meyer, camerata lipsiensis
Towards the end of his life, Joachim Raff began a project that could not have been expected from this artist, who was all too often labeled (and misunderstood) as a prolific writer – an oratorio on the 'World's End, Judgement and New World', as depicted in the vision of St. John. It was a mighty undertaking, with which he wanted to produce an opus magnum to complete his already huge oeuvre – and succeeded in doing so. The musical course of events is focused on the Book with Seven Seals, the apocalypse interwoven with blistering, seemingly inexplicable images, which the composer reveals primarily through the character of John; occasionally an angelic soprano voice joins in, as do grand choral scenes, suggestive orchestral interludes and psalm chants – the last judgement on Joachim Raff puts an end to old prejudices.
