Raff, Joachim 1822 - 1882

Author: Kurawaki, Masako
Last updated:August 10, 2020
Author: Kurawaki, Masako
Joachim Raff (1822-1882) is known as a composer of program symphonies, exemplified by his Symphony No. 3, Im Walde (In the Forest), Op. 153 (1869), and Symphony No. 5, Lenore, Op. 177 (1872). However, a closer look at the proportion of his compositions by genre reveals that out of over 300 works, more than 200 are piano pieces. Piano works comprise an almost equal number of original compositions and arrangements, and can be categorized into concertos, chamber music, works for two pianos, piano four hands, and solo pieces. His compositional style is said to have been influenced by Felix Mendelssohn Bartholdy and Franz Liszt.
Although Raff was a musician who grew up in Switzerland, his musical activities were primarily centered in Germany. His life is described below, divided into five periods.
Period 1 (Switzerland, 1822–1845)
Raff was born in 1822 in Lachen, on the shore of Lake Zurich, Switzerland, to Franz Raff, a teacher, and Katharina Schmidt, the daughter of a district chief. In his childhood, he received musical instruction from his father, who taught him violin, organ, and vocal music. Subsequently, he served as a choir member and organist at the local Catholic church and became an elementary school teacher at the age of 19. During this time, he became acquainted with Mendelssohn's works through interactions with figures such as Franz Abt, who was then the Kapellmeister at the Zurich court. Later, Abt introduced Raff's works to Mendelssohn, leading Mendelssohn to recommend the publication of Raff's piano pieces Opp. 2 to Op. 14 to Breitkopf & Härtel, which were subsequently published in 1844 and 1845, respectively. These works primarily consist of character pieces, featuring lyrical melodic lines or passages employing octaves and arpeggios. Among these, 12 Romances in Etude Form, Op. 8, is dedicated to Mendelssohn.
Another significant event during this period was his encounter with Liszt. Since meeting Liszt at a concert in Basel in 1845, Raff received considerable assistance from him.
Period 2 (Cologne, Stuttgart, Hamburg, 1845–1849)
Encouraged by Mendelssohn and Liszt, Raff resolved to become a musician and moved to Cologne. There, he composed while working for the piano manufacturing and publishing company Eck & Lefebvre, introduced by Liszt. Letters from this period contain Liszt's advice regarding Raff's works. Compositions from his time in Cologne, similar to the first period, primarily consisted of character pieces and piano works based on operas. These were published by various publishers in Mainz, Leipzig, and Hamburg. He also wrote for the music magazine Cäcilia at the request of Schott.
In 1846, Mendelssohn visited Cologne to participate in a male choir festival. During this visit, Mendelssohn met Raff and agreed to instruct him in composition in Leipzig. In January 1847, they exchanged letters about this plan, but due to Mendelssohn's unfortunate circumstances, the instruction did not materialize.
Next, in Stuttgart, he met Hans von Bülow, who would become his lifelong friend. von Bülow performed Raff's Fantasy on an Opera by Friedrich Kücken, Op. 44 in his first concert in 1848. 1848 was also the year Raff completed his four-act opera König Alfred (King Alfred), WoO 14. He negotiated for its premiere with various court theaters, but the prevailing situation, unavoidable due to the March Revolution, made opera performances unfeasible. In addition to these societal conditions, Raff faced his own financial difficulties. In destitution, he abandoned his creative activities and went to Hamburg, seeking employment with the music publisher Julius Schuberth. Although Raff's work at Schuberth's firm was steady, Liszt, then Kapellmeister at the Weimar court, advised him to come to Weimar and resume his musical activities. With Schuberth's understanding, Raff headed to Weimar to join Liszt.
Period 3 (Weimar, 1849–1856)
In 1851, Raff first conducted the premiere of his opera König Alfred at the Weimar Court Theater. Piano works from this period include pieces based on famous operas of the time and salon pieces, in addition to piano suites (Opp. 69, 71, 72) and piano arrangements (solo, piano four hands) of Raff's own operas and orchestral works.
His daily duties in Weimar, assisting Liszt, involved general administrative tasks, organizing manuscripts, and copying scores. Raff was also a senior figure in the circle of people who gathered in Weimar out of respect for Liszt, and for a period, he was a member of the New Weimar Society, founded in 1854. He also contributed to the Neue Zeitschrift für Musik during Franz Brendel's editorship. Ultimately, Raff left Weimar due to friction with his surroundings, which originated from his book Wagner-Fragen (1854). However, many performers and conductors he met during this period were involved in subsequent performances of Raff's works, indicating that the connections he forged in Weimar supported his musical activities.
Period 4 (Wiesbaden, 1856–1877)
This was the peak of his creative activity, not only in terms of the highest number of compositions but also in the variety of genres and forms explored. He solidified his position as a composer in his early 40s with two award-winning works, Symphony No. 1, An das Vaterland (To the Fatherland), Op. 96 (1859-1861), and the Festival Cantata Deutschlands Auferstehung (Germany's Resurrection), Op. 100 (1862-1863), as well as the success of his Orchestral Suite No. 1, Op. 101 (1863).
Piano works from this period include concertos, chamber music, and solo pieces (sonatas, variations, suites, character pieces). Raff generally showed a tendency to compose lengthy works. In his piano music, this is evident not only in the length of the pieces but also in the amplification and density of sound achieved through the use of octaves, double stops, repeated chords, arpeggio passages, and perpetuum mobile movements. Examples of such works include his piano suites (Piano Suite No. 4, Op. 91 (1859); No. 5, Op. 162 (1870); No. 7, Op. 204 (1876)), each dedicated to Cosima von Bülow, Pauline Fichtner, and Sophie Menter, respectively. Fichtner and Menter were renowned virtuoso pianists and beloved pupils of Liszt. Furthermore, the Piano Concerto, Op. 185, composed in 1873, is dedicated to von Bülow. Thus, the virtuoso elements observed in the piano works of the fourth period show the influence of Liszt and his pupils.
Period 5 (Frankfurt am Main, 1877–1882)
In 1878, Raff was appointed director of the Hoch Conservatory, founded with funding from Joseph Hoch and Franz Lachner as an advisor. He invited pianist Clara Schumann and singer Julius Stockhausen, added cellist Bernhard Cossmann and pianist Josef Rubinstein, colleagues from his Weimar period, to the faculty, and Raff himself was responsible for composition. Graduates of the conservatory include Edward MacDowell and Theodor Müller-Reuter.
During his fifth period, Raff composed oratorios and symphonies until his death in 1882. At his musical funeral in 1882, Otto Dessoff, music director of the Frankfurt Opera, conducted, and in 1883, a memorial concert was held at the Weimar Court Theater under the direction of von Bülow.
Author : Higuchi, Ai
Last Updated: October 1, 2007
[Open]
Author : Higuchi, Ai
Born in Lachen, near Zurich. Pianist, composer, and teacher. He received his education at the Jesuit Gymnasium in Schwyz. In 1844, his piano pieces Op. 2-6 were published with the recommendation of Mendelssohn. In 1845, influenced by Franz Liszt's performances, he followed him to Germany. In 1846, he met Hans von Bülow forming a lifelong friendship. In 1850, he served as an assistant to Liszt, who had been appointed Kapellmeister in Weimar, helping with music publication, copying parts, organizing manuscripts, and assisting with arrangements. In 1856, he resigned from his position in Weimar and dedicated himself to composition in Wiesbaden, leaving behind numerous works. In 1857, his Ode au Printemps Op. 76 for piano and orchestra was premiered by Bülow and achieved success. In 1877, he was appointed director of the Hoch Conservatory in Frankfurt and taught composition. His students included Edward MacDowell, Johannes Messchaert, and Alexander Ritter. His early style was influenced by Mendelssohn, and he wrote exclusively piano pieces from Op. 1 to Op. 46. Later, he attempted to fuse contrapuntal techniques and structural strength in sonata movements with the program music of the 'New German School' (such as Liszt), resulting in numerous programmatic symphonies and symphonies incorporating themes used by Romantic composers. In addition to piano pieces and symphonies, he left behind many works including concertos, chamber music, and operas.
Works(138)
Concerto (2)
concerto (1)
Works with orchestral accompaniment (2)
Piano Solo (27)
sonata (2)
scherzo (3)
rhapsody (2)
pieces (31)
suite (8)
etude (4)
fantasy (4)
variation (2)
waltz (4)
nocturne (2)
caprice (10)
barcarolle (2)
character pieces (16)
Reduction/Arrangement (14)
Trovatore et Traviata, 2 salon paraphrases after Verdi Op.70
Composed in: 1857 Playing time: 9 min 40 sec
transcription (3)
Various works (2)
Piano Ensemble (6)
Chamber Music (2)
Various works (4)
Chamber music (3)