Author Topic: Joachim Raff  (Read 6354 times)

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Mark

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Re: Joachim Raff
« Reply #20 on: November 10, 2007, 02:46:55 AM »
To quote the lady detective/anthropologist "Bones": "I don't know what that means."

How exactly does one transcode an Mp3 file?  

Google for it. ;)

Basically, you want to convert the MP3 file into a lower bitrate, thereby reducing its filesize ... and sound quality, sadly. :(

Online Cato

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Re: Joachim Raff
« Reply #21 on: November 12, 2007, 07:51:04 AM »
Google for it. ;)

Basically, you want to convert the MP3 file into a lower bitrate, thereby reducing its filesize ... and sound quality, sadly. :(

Okay, thank you, I will see what happens. 
"Now who taught ye t' be playin' patty fingers in the holy water?"

- Barry Fitzgerald to John Wayne in  The Quiet Man.

Offline Scion7

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Re: Joachim Raff (1822-1882)
« Reply #22 on: September 08, 2017, 11:25:53 PM »
Just discovered the Suite in G for Violin and Orchestra, Op. 180, and the Thüringian Suite.
Finely crafted Romantic pieces.
The latter piece has quite a program for it.
Your barricades lie broken ... your enemies lord.

Offline Scion7

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Re: Joachim Raff (1822-1882)
« Reply #23 on: September 09, 2017, 06:52:23 AM »
Even with CPO's survey of his works for violin and piano, there doesn't seem to be any recording of this piece,
which is a shame.



Suite for Violin and Piano in A, Op.210

    I. Prélude
    II. Pavane
    III. Chanson de Louis XIII varié
    IV. Gavotte et Mu
Your barricades lie broken ... your enemies lord.

Offline Scion7

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Re: Joachim Raff [1822-1882]
« Reply #24 on: September 10, 2017, 08:20:01 PM »
(born May 27, 1822, Lachen, near Zürich, Switz.—died June 24/25, 1882, Frankfurt am Main, Ger.), German composer and teacher, greatly celebrated in his lifetime but nearly forgotten in the late 20th century.
Raff became a schoolteacher in 1840 and taught himself the piano, violin, and composition. After early compositional efforts influenced by Felix Mendelssohn and Robert Schumann, he joined ranks with the new German school of Franz Liszt and Richard Wagner, and from 1850 to 1856 he was Liszt’s assistant in Weimar. Raff was a piano teacher in Wiesbaden from 1856 to 1877. Composing in almost every genre, Raff was extremely prolific and was commonly regarded by his contemporaries as the peer of Johannes Brahms and Wagner. From 1877 until his death he was the highly esteemed director of the Hoch Conservatory in Frankfurt. Raff produced 11 symphonies, concerti for various instruments, operas, choral and chamber music, and piano works.
- Item: his music was admired by Mendelssohn, Liszt and Bulow
- Item: he became an acquaintance of Brahms and Joseph Joachim
- Item: Raff's symphonies had some influence on the development of Bruch and Strauss
- Item: despite recognizing his "talent and fantasy" Clara Schumann was astute enough to foresee his popularity would not be long-lasting

      Chamber music
============================================

Piano Quintet, in a, Op.107, 1862 
2 piano quartets, in G, in c, Op.202, 1876
Piano Trio, in g, 1849, lost
4 piano trios, in c, Op.102, 1861
    in G, Op.112, 1863
    in a, Op.155, 1870 
    in D, Op.158, 1870
5 violin sonatas, in e, Op.73, 1853–4 (1859), in A, Op.78, 1858 (1861), in D, Op.128, 1865 (1867), in g, Op.129, 1866 (1867), in c, Op.145, 1868 (1869), (1876)
Aus der Schweiz, violin, piano, Op.57, 1848
2 Fantasiestücke, violin, piano, Op.58, 1850, 1852
3 duos, on themes from Wagner’s ops, violin, piano, Op.63, 1853
6 morceaux, violon, piano, Op.85, 1859
Volker, cyclic tone poem, violin, piano, Op.203, 1876
Suite, A, violin, piano, Op. 210, 1879 
Duo, violin, piano, WoO.55 1882
Cello Sonata, in D, Op.183, 1873
Duo, cello/violin, piano, in A, Op.59, 1848 
2 Fantasiestücke, cello, piano, Op.86, 1854
Octet, in C, Op.176, 1872 
Sextet, in g, Op.178, 1872
Quartet, in C, 1849–50, lost
5 string quartets, in d, Op.77, 1855 (1860), in A, Op.90, 1857 (1862), in e, Op.136, 1866 (1868), in a, Op.137, 1867 (1869), in G, Op.138, 1867 (1869);
3 string quartets, Op.192, no.1, no.2, no.3 1874 (1876): 1-Suite in älterer Form, 2-Die schöne Müllerin, 3-Suite in Kanonenform
Fest-Ouvertüre, in B ww, Op.124, 1865, arr. piano 4 hands (Bremen, 1865);
Sinfonietta, in F, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, Op.188, 1873 
2 Romanzen, horn/cello, piano, Op.182, 1873

     Orchestral
==================================

op.
—      Grosse Symphonie, e, 1854, lost
96   Sym. no.1 ‘An das Vaterland’, D, 1859–61 (1864)
140   Sym. no.2, C, 1866 (Mainz, 1869)
153   Sym. no.3 ‘Im Walde’, F, 1869 (1871)
167   Sym. no.4, g, 1871 (1872)
177   Sym. no.5 ‘Lenore’, E, 1872 (1873)
189   Sym. no.6, d, 1873 (Berlin, 1874)
201   Sym. no.7 ‘In den Alpen’, B, 1875 (1876)
205   Sym. no.8 ‘Frühlingsklänge’, A, 1876 (1877)
208   Sym. no.9 ‘Im Sommer’, e, 1878 (1879)
213   Sym. no.10 ‘Zur Herbstzeit’, f, 1879 (1882)
214   Sym. no.11 ‘Der Winter’, a, 1876 (1883)
Ode au printemps for Piano, G, op.76, 1857 (Mainz, 1862);
Piano Conc., c, op.185, 1873 (1874);
Suite for Piano, E, op.200, 1875 (1876)
La fée d’amour (Die Liebesfee), a, op.67, 1854 (Mainz, 1878);
Violin Conc. no.1, b, op.161, 1870–71 (1871);
Suite for Violin, G, op.180, 1873 (1873);
Violin Conc. no.2, a, op.206, 1877 (1878)
Cello: Conc. [no.1], D, op.193, 1874 (1875);
          Conc. no.2, G, 1876
Cavatina for Violin & Orchestra, Op.85
Ungrischer for Violin & Orchestra, Op.203
Incid music to Bernhard von Weimar (W. Genast), 1854, ov., rev. as Ein feste Burg ist unser Gott, op.127, 1865 (1866),
2 marches (Munich, 1885)
Suite no.1, C, op.101, 1863 (Mainz, 1865);
Suite no.2 ‘in ungarischer Weise’, f, op.194, 1874 (Berlin, 1876);
Italienische Suite, 1871 (Berlin, 1884);
Thüringer Suite, 1875 
Fest-Ouvertüre, G, 1851–2, lost;
Jubel-Ouvertüre, C, op.103, 1864 (1865);
Fest-Ouvertüre, A, op.117, 1864 (1865);
Konzert-Ouvertüre, F, op.123, 1862 (1866);
Festmarsch, C, op.139, 1867 (Mainz, 1878);
ovs. to Shakespeare plays, 1879: The Tempest, Macbeth, Romeo and Juliet, Othello;
Elegie, 1880 [orig. 3rd movt of Sym. no.10];
Grosse Fuge, 1882, inc.
World's End, oratorio, Op.212
Overture to Prometheus Unbound

      Piano music
====================================

   •   Album lyrique, Op.17  
   •   Allegro agitato, Op.151
   •   Chaconne, for 2 pianos in A-, Op.150
   •   5 Eglogues, Op.105
   •   Fantaisie-polonaise, Op.106
   •   Fantasie in B, for piano, WoO15A  
   •   Fantasie-Sonate, Op.168
   •   Fruhlingsboten, 12 pieces for piano, Op.55  
   •   Impromptu-valse, Op.94  
   •   3 Klavier-Soli, Op.74
   •   La cicerenella, for piano, Op.165  
   •   3 Piano Pieces, Op.125
   •   2 pieces, for piano (1871), Op.166  
   •   4 Pieces, for piano, Op.196
   •   Romance No.1, for piano, WoO11 (after Beethoven's Romance for violin, Op.40)
   •   12 romances en forme d'etudes, for piano, Op.8
   •   Souvenirs de Musique de W.A. Mozart 'Don Giovanni' (K.527), Op.45, for piano
   •   Variationen uber ein Originalthema, Op.179 
   •   Grande Sonate, Op.14
   •   Blatter und Bluten, for piano, Op.135a 
   •   Erinnerung an Venedig, for piano, Op.187  
   •   Barcarolle, for piano, Op.143  
   •   6 Poemes, for piano, Op.15  
   •   Fantaisie, for piano, Op.142  
   •   2 Pieces, for piano, Op.169

      Stage Works
========================

König Alfred (4, G. Logau), 1848–50, rev. 1852, Weimar, 13 March 1853
Samson (musikalisches Trauerspiel, 5, J. Raff), 1853–7
Die Parole (3, Raff, after von Saldern), 1868
Dame Kobold (komische Oper, 3, P. Reber, after P. Calderón de la Barca), op.154, 1869, Weimar, Hof, 9 April 1870, vs (Berlin, 1871), ov., fs (Berlin, 1870), lib. (Wiesbaden, 1870)
Benedetto Marcello (lyrische Oper, 3, Raff), 1877–8
Die Eifersüchtigen (komische Oper, 3, Raff), 1881–2

- various lieder and choral works
Your barricades lie broken ... your enemies lord.

Offline kyjo

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Re: Joachim Raff
« Reply #25 on: September 11, 2017, 04:04:14 PM »
Raff was pretty inconsistent, but his finest works merit greater attention. Out of his symphonies, his Third, Fifth, and Ninth are the best - picturesque works with plenty of memorable tunes and colorful orchestration. His Piano Concerto is quite wonderful as well, with is beautiful slow movement. Also of note are his second and fourth piano trios, which are full of soaring melodies and satisfying part-writing.

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