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.

Source: AllMusic (https://www.allmusic.com/artist/joachim-raff-mn0001610 113/biography).

Although originally composed for Violin & Piano, I created this Arrangement of the "Cavatina" from 6 Morceaux (Op. 85 No. 3) for Oboe & Strings (2 Violins, Viola & Cello).