An essentially self-taught musician, Johann Joachim
Raff (Lachen, Schwyz 1822 - Frankfurt am Main 1882) was
lauded in his homeland as a master of contemporary
musical techniques. One of several forgotten Romantic
composers whose works found a performance renaissance
near the twentieth century's end, Joachim Raff was the
son of a German organist from Württemberg. The family
had modest resources, and Raff's only formal education
consisted of teacher-training studies at a Jesuit
school. But he was...(+)
An essentially self-taught musician, Johann Joachim
Raff (Lachen, Schwyz 1822 - Frankfurt am Main 1882) was
lauded in his homeland as a master of contemporary
musical techniques. One of several forgotten Romantic
composers whose works found a performance renaissance
near the twentieth century's end, Joachim Raff was the
son of a German organist from Württemberg. The family
had modest resources, and Raff's only formal education
consisted of teacher-training studies at a Jesuit
school. But he was determined on a musical career and
taught himself the essentials of composition.
Generally speaking, if anyone has heard any piece of
Joachim Raff, it's his famous Cavatina, the third of
his Six Morceaux for Violin & Piano. It became so
famous that it has been made into dozens of different
arrangements. It has been and is sold alone. Sadly, all
but one of the other five little gems, which make up
the collection, have disappeared and are out of print.
While it is true that the melody of Raff's "Famous
Cavatina" is a glorious creation, we think you will
agree that these other five are wonderful too.
Raff was regularly mentioned in the same breath as
Wagner, Liszt, and Brahms as one of Germany's leading
composers. All of the critical commentaries which
appeared during those years spoke of him as an equal to
them. Incredibly, by the 1920's his music had all but
disappeared from the concert stage. It seems virtually
unimaginable that a composer whose talent was
recognized and whose music was admired by Mendelssohn
and Liszt, could become a mere footnote, yet this is
what became of Raff and his music for most of the 20th
century. Only now is he being rediscovered to the
delight of those fortunate enough to hear his
music.
The Six Morceaux date from 1862, just as Raff was
entering his period of greatest creativity. In these
relatively short pieces he set himself a specific goal:
To create archetypal examples of specific musical
forms. He chose six: The March, the Pastorale, the
Cavatina, the Scherzo, the Canzona (a short lyrical
poem) and the Tarantella. Each little piece is
elaborated with formal perfection that serves only the
purpose of creating an perfect example. The Marcia and
Scherzino are brilliant and faithful examples of their
forms. In the Pastorale, Raff wonderfully evokes the
quiet and peaceful mood of the idyll, which, of course,
is the language of the Pastorale. The Cavatina's two
melodies are marvelous, the second with its heroic
intensity, has never failed to move its listeners. The
Canzona is every bit as convincing and surely deserved
to become as famous as the Cavatina. Who can say why it
did not happen? The last piece, Tarantella, is a tour
d'force, brilliantly portraying the whirling energy of
the Italian dance form.
Although originally composed for Violin & Piano, I
created this Arrangement of the "Canzona" from 6
Morceaux (Op. 85 No. 5) for Oboe & Strings (2 Violins,
Viola & Cello).
PARTITION