Joachim Raff

Men's chorus
Piano four hands
Mixed chorus
by alphabet
6 Morceaux, Op.855 Transcriptions, Op.6812 Romances en forme d'études, Op.82 Romances, Op.182Frühlingsboten, Op.55Symphony No. 5Symphony No.3, Op.153Suite de morceaux pour les petites mains, Op.753 Duos on Motives from Richard Wagner's Operas, Op.632 Piano Pieces, Op.1573 Pièces caractéristiques, Op.2Schweizerweisen, Op.60Piano Quintet, Op.107Grande sonate, Op.14Album lyrique, Op.1712 Pieces for Piano Four Hands, Op.822 Piano Quartets, Op.202Piano Trio No.1, Op.102Chaconne for 2 Pianos, Op.150String Quartet No.1, Op.772 Études mélodiques, Op.130Reminiscenzen aus 'Die Meistersinger von Nürnberg', WoO.26Aus Thüringen, WoO.45Violin Sonata No.1, Op.734 Paraphrases de Salon, Op.613 Sonatilles, Op.99Ein feste Burg ist unser Gott, Op.127Sanges-Frühling, Op.98Piano Concerto, Op.185Symphony No. 1Piano Trio No.3, Op.155Suite No.3 for Piano, Op.72Vom Rhein, Op.134Air suisse, Op.11Piano Trio No.2, Op.112Cello Sonata, Op.183Piano Trio No.4, Op.1583 Salonstücke, Op.56Suite No.1 for Piano, Op.69Symphony No.11, Op.214Symphony No. 22 Fantasiestücke, Op.86Suite No.4 for Piano, Op.9130 Fortschreitende Etüden, WoO.362 Paraphrases on Lieder by Liszt, Op.18Humoreske in Walzerform, Op.159Violin Sonata No.2, Op.784 Piano Pieces, Op.196Violin Sonata No.5, Op.145Violin Sonata No.3, Op.128Symphony No.10, Op.2132 Caprices, Op.111Impromptu-valse, Op.943 Klavier-Soli, Op.74Notturno d'après une romance de François Liszt, Op.39Suite No.7 for Piano, Op.204Am Giessbach, Op.88Violin Sonata No.4, Op.129Orchestral Prelude to Shakespeare's Romeo and Juliet, WoO.512 Piano Pieces, Op.1662 Morceaux de salon, Op.81Aus der Schweiz, Op.57Suite No.2 for Piano, Op.71Tanz-Capricen, Op.54Suite No.5 for Piano, Op.162String Quartet No.5, Op.138Suite No.1 for Orchestra, Op.101La polka de la reine, Op.95Illustrations de 'L'Africaine', Op.1213 Piano Pieces, Op.125String Quartet No.7, Op.192 No.2Romanze, Op.41Orchestral Prelude to Shakespeare's Macbeth, WoO.50Ode au printemps, Op.762 Paraphrases de salon, Op.70Fantasie über Motive aus 'Der Barbier von Sevilla', Op.44Reminiscenzen aus Mozarts 'Don Juan', Op.45Cachoucha-Caprice, Op.794 Galop-caprices, Op.52 Paraphrases de Salon, Op.65Suite No.6 for Piano, Op.163Fest-Ouvertüre, Op.117Le galop, Op.104Fantaisie-Polonaise, Op.1063 Piano Pieces, Op.164Dans la nacelle, Rêverie-Barcarolle, Op.93Chant de l'Ondin, Op.84Rondo brillant, Op.7Welt-Ende, Gericht, Neue Welt, Op.212Scherzo, Op.3Angelens letzter Tag im Kloster, Op.27Capriccietto über Motive aus der Oper 'Der Freischütz', Op.35Capriccio, Op.92Valse brillante, Op.15612 Zweistimmige Gesänge, Op.114Grande Mazurka, Op.38Introduction et Allegro scherzoso, Op.87Variations, Op.6Capriccio, Op.197Die Tageszeiten, Op.209Fantasie militair über Motive aus 'Die Hugenotten', Op.36String Quartet No.3, Op.136Villanella, Op.892 Gesänge für gemischten Chor, Op.171Mazurka-caprice, Op.8310 Gesänge für Männerchor, Op.97Divertimento über Motive aus 'Die Jüdin', Op.43Die Parole, WoO.29Introduction und Fuge, WoO.25Selected Pieces for Pianoforte6 Gesänge, Op.184String Quartet No.4, Op.137Fantasie über Motive aus 'Die Nachtwandlerin', Op.3710 Gesänge für Männerchor, Op.195Todtentanz, Op.1812 Méditations, Op.14710 Gesänge für Männerchor, Op.122Suite, Op.210Spanische Rhapsodie, Op.1203 Piano Pieces, Op.126Musique de piano sur des motifs de l'opéra 'Le prétendant', Op.42Valse-impromptu à la tyrolienne, WoO.28Ungarische Rhapsodie, Op.113Capriccio, Op.64Die Eifersüchtigen, WoO.54La dernière rose, Op.4610 Gesänge für gemischten Chor, Op.198Tears, Idle Tears, WoO.52ADen Manen Scarlatti's, Op.26Sinfonietta, Op.188Von der schwäbischen Alb, Op.215Phantasie, Op.1192 Märsche aus Händels Oratorien 'Saul' und 'Jephta', WoO.223 Lieder, Op.47Reisebilder, Op.160Ständchen, WoO.21Fantaisie, Op.142Marche brillante, Op.132Am Rhein, Op.322 Fantasiestücke, Op.58Valse favorite, Op.118Valse-Caprice, Op.116Tarentelle, Op.144Deutschlands Auferstehung, Op.100Valse-Rondino sur des motifs de l'opéra 'Les Huguenots', Op.13La Cicerenella, Op.165Wachet auf!, Op.802 Italienische Lieder, Op.50Duo, WoO.553 Lieder, Op.522 Scenen, Op.1992 Lieder, Op.483 Lieder, Op.49Traumkönig und sein Lieb, Op.66Fantasie-Sonate, Op.1683 Salon-Etudes on Richard Wagner's Operas, Op.62Phantasie, Op.207Variationen über ein Originalthema, Op.179Aus dem Tanzsalon, Op.174Suite, Op.200Italienische Suite, WoO.35Concert Overture, Op.123Volker, Op.2038 Gesänge, Op.1735 Lieder, Op.512 Lieder vom Rhein, Op.53Cello Concerto No.1, Op.193Duo, Op.59Fest-Ouverture, Op.124La fée d’amour, Op.67Sleeping Beauty, WoO.19String Octet, Op.176String Quartet No.2, Op.90String Quartet No.6, Op.192 No.1String Quartet No.8, Op.192 No.3String Sextet, Op.178Suite No.2, Op.194Violin Concerto No.1, Op.161Violin Concerto No.2, Op.206
Joseph Joachim Raff (27 May 1822 – 24 or 25 June 1882) was a German-Swiss composer, pedagogue and pianist.
Raff was born in Lachen in Switzerland. His father, a teacher, had fled there from Württemberg in 1810 to escape forced recruitment into the military of that southwestern German state that had to fight for Napoleon in Russia. Joachim was largely self-taught in music, studying the subject while working as a schoolmaster in Schmerikon, Schwyz and Rapperswil. He sent some of his piano compositions to Felix Mendelssohn who recommended them to Breitkopf & Härtel for publication. They were published in 1844 and received a favourable review in Robert Schumann's journal, the Neue Zeitschrift für Musik, which prompted Raff to go to Zürich and take up composition full-time.
In 1845, Raff walked to Basel to hear Franz Liszt play the piano. After a period in Stuttgart where he became friends with the conductor Hans von Bülow, he worked as Liszt's assistant at Weimar from 1850 to 1853. During this time he helped Liszt in the orchestration of several of his works, claiming to have had a major part in orchestrating the symphonic poem Tasso. In 1851, Raff's opera König Alfred was staged in Weimar, and five years later he moved to Wiesbaden where he largely devoted himself to composition. From 1878 he was the first Director of, and a teacher at, the Hoch Conservatory in Frankfurt. There he employed Clara Schumann and a number of other eminent musicians as teachers, and established a class specifically for female composers. (This was at a time when women composers were not taken very seriously.) His pupils there included Edward MacDowell and Alexander Ritter. See: List of music students by teacher: R to S#Joachim Raff.
He died in Frankfurt on the night of June 24/25, 1882. His tomb is in Hauptfriedhof Frankfurt.
Raff was very prolific, and by the end of his life was one of the best known German composers, though his work is largely forgotten today. (Only one piece, a cavatina for violin and piano, is performed with any regularity today, sometimes as an encore.) He drew influence from a variety of sources - his eleven symphonies, for example, combine the Classical symphonic form, with the Romantic penchant for program music and contrapuntal orchestral writing which harks back to the Baroque. Most of these symphonies carry descriptive titles including In the Forest (No. 3), Lenore (No. 5) and To the Fatherland (No. 1), a very large-scale work lasting around seventy minutes. His last four symphonies make up a quartet of works based on the four seasons. A complete cycle of all his symphonies and many other orchestral works was recorded in the early 2000s by the Bamberg Symphony under Hans Stadlmair.
Raff's Symphony No. 3 "In the Forest" was enthusiastically received by the audience at that time, spread quickly to England and America and was one of the most played orchestral pieces in the world at the end of the 19th century. It fell into oblivion together with Raff himself, but influenced many later romantic composers including Tchaikovsky in his famous "Pathétique" for example. Arturo Toscanini conducted some performances of the symphony in 1931.
The Lenore symphony (No. 5), famous in its time, was inspired by a ballad of the same name by Gottfried August Bürger that also inspired works by several other composers, including Maria Theresia von Paradis (1789), Henri Duparc, Franz Liszt (late 1850s, mentioned by Alan Walker in his Liszt biography vol. 2), for example. The world premiere recording of Lenore was made in 1970 by the London Philharmonic Orchestra conducted by Bernard Herrmann, who championed Raff's orchestral music. He described it as "one of the finest examples of the Romantic Programme School - it deserves a place alongside the Symphonie fantastique of Berlioz, Liszt's Faust Symphony and the Manfred Symphony of Tchaikovsky".
Richard Strauss was a pupil of Hans von Bülow, a friend of Raff's, and it has been said that Strauss was influenced in his early works by Raff. For example, Raff's Symphony No. 7 In the Alps (1877) could be compared with Strauss's An Alpine Symphony (1915). Much of Raff's music has been said to forecast the early works of Jean Sibelius.
Raff also composed in most other genres, including concertos, opera, chamber music and works for solo piano. His chamber works include five violin sonatas, a cello sonata, a piano quintet, two piano quartets, a string sextet and four piano trios. Many of these works are now commercially recorded. He also wrote numerous suites, some for smaller groups (there are suites for piano solo and suites for string quartet), some for orchestra and one each for piano and orchestra and violin and orchestra.
Raff's works include: