JOACHIM RAFF.

JOACHIM RAFF.

On-e of the more graceful writers among the lesser
gods of music was Joachim Raff, born near Lucerne in
Switzerland, May 27, 1822; died at Frankfort-on-Main,
June 24, 1882. Raff's father was an organist and teacher
of music, who preferred, apparently, that his son should
pursue some other avocation. According the boy be-
took himself to books and it is said was able to trans-
late Homer at the incredibly early age of seven. He
studied in the Jesuit college and became a tutor. He
played the organ and sang and before he was twenty
he had decided to follow a musical life. In 1842 he met
Mendelssohn, who greatly encouraged him, and so his
first composition was published in 1843. Three years
later Liszt found him and gave him more encourage-
ment, whereupon Raff started upon a concert tour with
Liszt. After a variety of misfortunes, Raff at length
made his home at Weimar for six years, and it was there
that his early works were composed. In 1869 he gained
the prize offered in Vienna for the best symphony, and
this was the beginning of his success in this depart-
ment. He wrote eleven symphonies, of which the fam-
ous "Leonore" and the "Forest" symphonies have been
played the world over. He composed six operas, of
which two were played ; and a great quantity of piano-
forte music, chamber works, songs, concertos for piano
and for violin, and so on. All of Raff's work has cer-
tain good qualities. His melody is suave, his harmonies
modern and often beautiful, hs tone-color masterly, and

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JOACHIM RAFF.



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JOACHIM RAFF. 137

his writing generally fluent. He has some of the faults
of Schubert, mainly too great facility of composition. He
was obliged by poverty to write when the muse did not
serve. Accordingly, beautiful moments abound in all
his pieces, but in the less fortunate ones they are inter-
mingled with much that is commonplace and inefficient.
As a composer for piano he had a singularly fluent style
and a good idea of the tonal values. There is nothing
of his which can be classed as absolutely great; there
are many things which afford great delight. The lack
in all is the lack of the heroic, the grand, the deep; in
place of these qualities, which give tone-poetry so hon-
ored and so long-lived glory, we find the sweet, the
pleasing, the graceful, and, as already said, at times
the commonplace.

Personally Raff was one of the most delightful of
men, amiable, witty, well-informed, a fine scholar, and a
gentleman.

CAVATINA FOR VIOLIN AND PIANO. OP. 85, NO. 3.

(5th Grade.)

A beautiful melody peculiarly fascinating to players
and hearers alike. It begins in the lower register,
where the tone of the G string is richest ; it reaches a
climax upon the high notes and eventually comes back
again to the tone of beginning.

IMPROMPTU VALSE. OP^ 94.
C6th Grade.)

A very brilliant salon waltz, admirable as practice
and pleasing as illustrating the fine work of the player.
The main theme is a sort of perpetual motion, pat-
terned after a much smaller waltz of Chopin, but the car-
rying out is Raff's own.



138 THE GREAT IN MUSIC: FIRST YEAR.

GAVOTTE. OP. 125, NO. i.
(6th Grade.)

A pleasing and well-made antique in modern style
a gavotte. Bright, easy in motion, pleasing in spirit.
The minor tonality of the main theme is replaced in
the middle piece by a second subject in the major tonal-
ity. After this the original theme returns.

IN A WHERRY: REVERIE BARCAROLLE. OP. 93-

(6th Grade.)

This charming and poetical piece opens with a short
introduction of twelve measures. In m. 14 the theme
begins. It is an ideal design for the purpose ; the rock-
ing motion, the soft and gentle swaying of the water, the
sentiment of the small boat and a chosen companion,
all these are well managed in the tone-poem. Note
particularly the cleverness of the accompaniment, the
deep effect due to the retention of the first fifth low in
the bass as the pedal keeps it sounding. In m. 45 the
sea becomes somewhat rougher. There is now a 3-4
rhythm in the melody against the 6-8 of the accom-
paniment. The syncopation recalls the inner unhap-
piness which all lovers of the sea will appreciate. The
sadness is accentuated by the minor tonality. At length,
in m. 105, the second theme gives place to an interlude
and in m. 117 the original theme is resumed with a finer
treatment, and the piece is carried through to a charm-
ing close, m. 158. It is entirely a salon piece, a piece
for the drawing room, and for study. Nothing of the
deeper things of the soul comes to expression through
it, but it is, nevertheless, well worth knowing.



JOACHIM RAFF. 139

LA FILEUSE.
(6th Grade.)

Of all the tone-poems of Raff this fancy piece, "The
Spinner," has had the greatest currency. It well de-
serves this honor for the grace with which it is written,
the facility and pleasing nature of the modulations, the
beautiful melody and the neatness with which it comes
to complete expression in the tone of the pianoforte. It
is a pleasant little sonnet, with just enough of cadenza
effect here and there to give the hearer the impression
that it is difficult. To be played very lightly and grace-
fully, with very even and delicate sixteenth notes. The
melody to sing throughout.




Program VI



WEBER.:

Sonatina in C. Op. 3.
Invitation to the Dance. Op. 65.
Air from "Der Freyschuetz."
Polacca Brilliante in E Major. Op.

72.

Slumber Song.

Rondo Brilliante in E Flat. Op. 62.
Overture to "Oberon." Four Hands.

HENSELT:

A Song of Love. Op. 5, No. J 1.
The Repose of Love. A duet, op. 2,

No. 4.

Spring Song. Op. 15.
A Little Waltz. Op. 28.
Etude, "If I Were a Bird." Op. 2,

No. 6.

Cradle Song. Op. J3.
Scherzo in B Minor. "A La Russie."

Op. 9.