dimecres, 27 de maig de 2015

RAFF, Joseph Joachim (1822-1882) - Die Tageszeiten Op.209

Ferdinand Georg Waldmüller - Die Klostersuppe (1858)
Obra de Ferdinand Georg Waldmüller (1793-1865), pintor austríac (1)



- Recordatori de Joseph Joachim Raff -
En el dia de la celebració del seu 193è aniversari de naixement



Parlem de Pintura...

Ferdinand Georg Waldmüller (Wien, 15 de gener de 1793 - Hinterbrühl, 23 d'agost de 1865) va ser un escriptor i pintor austríac i un representant destacat del moviment Biedermeier. Va estudiar durant poc temps a l'Acadèmia de Belles Arts de Viena per ràpidament independitzar-se tot pintant retrats. El 1811, va obtenir un càrrec de docent per als fills del comte Gyulay, a Croàcia. Tres anys més tard, va tornar a Viena i va treballar el seu estil copiant les obres de grans mestres. Aviat es va interessar per la naturalesa i va començar a pintar paisatges. És en aquesta temàtica on va assolir la seva major originalitat. El seu sentit del color i bon coneixement de la natura, el van ajudar a aconseguir algunes pintures molt notables. El 1823 va fer un retrat de Ludwig van Beethoven que va servir de base a Lazarus Sichling per a realitzar el gravat més conegut del músic. Va estar treballant durant un temps com a professor de l'Acadèmia de Belles Arts de Viena, però sovint va mostrar divergències amb l'elit de Viena a causa de les seves crítiques sobre el sistema acadèmic de l'Acadèmia, ja que el seu interès era la naturalesa. Va ser autor d'un gran nombre de retrats així com de paisatges i pintures de gènere. Va dedicar temps a la literatura d'art tot escrivint obres de perfil pedagògic en aquest sentit. Va morir a Hinterbrühl l'agost de 1865.

Font: En català: No disponible En castellano: Ferdinand Georg Waldmüller (1793-1865) In english: Ferdinand Georg Waldmüller (1793-1865) - Altres: Ferdinand Georg Waldmüller (1793-1865)



Parlem de Música...

Joseph Joachim Raff (Lachen, 27 de maig de 1822 - Frankfurt, 25 de juny de 1882) va ser un compositor i professor suís. El seu pare, professor i organista, va ser el primer mestre de Raff. Amb ell va aprendre violí, orgue i cant abans d'entrar al Gymnasium de Rottenburg. El 1840 va assolir el seu primer càrrec de professor de l'escola primària de Rapperswil. Allà va ser on va iniciar la seva carrera professional com a músic. Dotat pianista i organista, va començar a compondre obres de piano. El 1843 es va posar en contacte amb Mendelssohn qui a la vegada va promocionar les seves obres a l'editor Breitkopf & Härtel que va publicar els seus Opp. 2-6. Amb el suport de Franz Abt es va establir a Zurich on va donar classes de piano, va interpretar concerts i va copiar música per guanyar-se la vida. El 1845 va conèixer a Liszt qui li va donar classes i el va acompanyar a Köln, on Raff va treballar en una botiga de pianos fins el 1847. Aquell any va viatjar a Stuttgart on va conèixer i estudiar amb Bülow. En aquell període va iniciar la composició d'obres de gran format. El 1848 va viatjar a Hamburg on va treballar com a arranjador per l'editorial Schuberth.

A Hamburg va contactar de nou amb Liszt. Van viatjar plegats a Bad Eilsen i després a Weimar on Raff va treballar com a assistent del Kapellmeister de la cort. Va continuar treballant com a compositor amb l'assistència i supervisió de Liszt qui alhora va promocionar la interpretació pública de les obres de Raff. És d'aquesta manera que el 1851 es va estrenar l'òpera König Alfred, el Psalm cxxi (1855) i el conte de fades Dornröschen (1856). A Weimar va conèixer a Brahms, a Joseph Joachim i a la seva futura esposa Doris Genast (1826-1912), una actriu i filla del director del Teatre de Weimar. Durant l'estiu de 1865, Raff va decidir independitzar-se de Liszt i es va instal·lar a Wiesbaden, on va treballar com a professor de piano, cant i harmonia durant la resta de la seva vida. En aquella ciutat va ser on va compondre la majoria de les seves obres assolint l'èxit i el reconeixement oficial. El 1878 va assolir el càrrec de director del Conservatori Hoch de Frankfurt tot i que va seguir component fins el final dels seus dies. Va morir a Frankfurt la nit del 24 de juny de 1882.

OBRA:

Vocal secular:

Operas:
König Alfred (4, G. Logau), 1848–50, Weimar, Hof, 9 March 1851; rev. 1852, Weimar, 13 March 1853
Samson (musikalisches Trauerspiel, 5, J. Raff), 1853–7, unperf.
Die Parole (3, Raff, after von Saldern), 1868, unperf.; lib (Wiesbaden, 1873)
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, unperf.
Die Eifersüchtigen (komische Oper, 3, Raff), 1881–2, unperf.

Vocal ensemble with pf:
12 zweistimmige Gesänge (Hoffmann von Fallersleben and others), op.114, 1860–64 (1865);
6 Gesänge (Geibel), 3 female vv, op.184, 1870–73 (1873)

Songs with orch:
Traumkönig und sein Lieb (Geibel), op.66, 1854 (Mainz, 1875);
2 scenas (T. Schleiden), op.199, 1875 (1875): 1 Die Jägerbraut, 2 Die Hirtin

Songs with pf:
3 Lieder (Byron), op.16, 1844, lost;
3 Lieder (J. Scheffel), op.18, 1844, lost;
3 Lieder (J.G. Fischer), op.47, 1848 (1850);
2 Lieder (G. Logau), op.48, 1848 (1852);
3 Lieder (Fischer), op.49, 1848 (Magdeburg, 1852);
2 italienische Lieder (C.O. Sternau), op.50, 1849 (Magdeburg, 1852);
5 Lieder (Geibel), op.51, 1849–50 (1853);
3 Lieder (Sternau), op.52, 1850 (Berlin, 1853);
2 Lieder vom Rhein (Sternau), op.53, 1849 (Cologne, 1853)
Sangesfrühling (various poets), 30 songs, op.98, 1855–63 (1864);
Maria Stuart (M. Stuart), cycle, op.172, 1872 (1873);
8 Gesänge (T. Moore and others), op.173, 1868–70 (1872);
Blumensprache (G. Kastropp), 6 songs, op.191, 1874 (1874);
Blondel de Nesle (H. Raff), cycle, op.211, 1880 (1880);
Ständchen (Sternau), 1859 (Stuttgart, 1861);
Frühlingslied (E. Neubürger) (Mainz, 1879)

Choral unaccompanied:
97 10 Gesänge, male vv, 1853–63 (1865)
122 10 Gesänge, male vv, 1853–63 (1867)
4 Marianische Antiphonen, 5, 6, 8vv, 1868
195 10 Gesänge, male vv, 1860–70 (1876)
198 10 Gesänge, mixed vv, 1860–74 (1875)

Other:
all printed works published in full score
op.
Dornröschen (musical fairy tale, W. Genast), solo vv, chorus, orch, 1855
80 Wachet auf! (E. Geibel), solo vv, male vv, mixed vv, orch, 1858 (Mainz, 1862)
100 Deutschlands Auferstehung (M. von der Werra), male vv, orch, 1862–3 (1864)
171 2 Gesänge, chorus, orch, 1871 (1872): Im Kahn (A. Börner), Der Tanz (P. Flemming)
186a Morgenlied (J.G. Jacobi), chorus, orch/pf, 1873 (1874)
186bEiner Entschlafenen (Börner), S, chorus, orch/pf, 1873 (1874)
209 Die Tageszeiten (cant., H. Raff), chorus, pf, orch, 1877–8 (1880)
Die Sterne (H. Raff), chorus, orch, 1880; also arr. pf acc.
212 Welt-Ende, Gericht, Neue Welt (Revelation), orat, solo vv, chorus, orch, 1879–81 (1883)

Vocal religiosa:

Psalm cxxi, solo vv, chorus, orch, 1848;
Te Deum, chorus, orch, 1853;
De profundis (Ps cxxx), mixed vv, orch, 1867 (1868)
Kyrie and Gloria, 6vv, Pater noster, 8vv, Ave Maria, 8vv, all 1869

Instrumental:

Symphonies:
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)

Solo instrument and orchestra:
Pf:
Ode au printemps, G, op.76, 1857 (Mainz, 1862);
Conc., c, op.185, 1873 (1874);
Suite, E , op.200, 1875 (1876)
Vn:
La fée d’amour (Die Liebesfee), a, op.67, 1854 (Mainz, 1878);
Conc. no.1, b, op.161, 1870–71 (1871);
Suite, G, op.180, 1873 (1873);
Conc. no.2, a, op.206, 1877 (1878)
Vc:
Conc. [no.1], D, op.193, 1874 (1875);
Conc. no.2, G, 1876

Otter orchestral:
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)
Suites:
no.1, C, op.101, 1863 (Mainz, 1865);
no.2 ‘in ungarischer Weise’, f, op.194, 1874 (Berlin, 1876);
Italienische Suite, 1871 (Berlin, 1884);
Thüringer Suite, 1877

Other works:
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.

Chamber:
Pf, str:
Pf Qnt, a, op.107, 1862 (1864);
2 pf qts, G, c, op.202, 1876 (1876, 1877);
Pf Trio, g, 1849, lost;
4 pf trios, c, op.102, 1861 (1864), G, op.112, 1863 (1865), a, op.155, 1870 (Berlin, 1872), D, op.158, 1870 (1871);
5 vn sonatas, e, op.73, 1853–4 (1859), A, op.78, 1858 (1861), D, op.128, 1865 (1867), g, op.129, 1866 (1867), c, op.145, 1868 (1869), all ed. F. David (1876);
Aus der Schweiz, vn, pf, op.57, 1848 (Hanover, 1853);
2 Fantasiestücke, vn, pf, op.58, 1850, 1852 (Magdeburg, 1854);
3 duos, on themes from Wagner’s ops, vn, pf, op.63, 1853 (Aachen, 1856);
6 morceaux, vn, pf, op.85, 1859 (1862);
Volker, cyclic tone poem, vn, pf, op.203, 1876 (1877);
Suite, A, vn, pf, op.210, 1879 (1880);
Duo, vn, pf, 1882;
Vc Sonata, D, op.183, 1873 (1873);
Duo, vc/vn, pf, A, op.59, 1848 (Hanover, 1855);
2 Fantasiestücke, vc, pf, op.86, 1854 (1862);
Duo, vn, pf, 1882
Str:
Octet, C, op.176, 1872 (1873);
Sextet, g, op.178, 1872 (1873);
Qt, C, 1849–50, lost;
5 qts, d, op.77, 1855 (1860), A, op.90, 1857 (1862), e, op.136, 1866 (1868), a, op.137, 1867 (1869), G, op.138, 1867 (1869);
3 qts, op.192, 1874 (1876):
Suite in älterer Form, Die schöne Müllerin, Suite in Kanonenform

Other works:
Fest-Ouvertüre, B  ww, op.124, 1865, arr. pf 4 hands (Bremen, 1865);
Sinfonietta, F, 2 fl, 2 ob, 2 cl, 2 bn, 2 hn, op.188, 1873 (1874);
2 Romanzen, hn/vc, pf, op.182, 1873 (1873)

Piano solo:
Sérénade, op.1, 1842 (Offenbach, 1843);
3 pièces caractéristiques, op.2, 1842 (1844), rev. as 3 morceaux, 1876 (1877);
Scherzo, op.3, 1842 (1844);
Fantaisie brillante, on themes from Donizetti’s Maria di Rudenz, op.4, 1842 (1844), rev. as Fantaisie, 1881 (1881);
4 galops brillants, op.5, 1843 (1844), rev. as 4 galop-caprices, 1878 (1878);
Fantaisie et variations brillantes, op.6, 1843 (1844), rev. as Variations, 1878 (1878);
Rondo brillant, on Io son ricco e tu sei bella from Donizetti’s L’elisir d’amore, op.7, 1843 (1844);
12 romances en forme d’études, op.8, 1843 (1845)
Impromptu brillant, op.9, 1843 (1845), rev. as Introduction et rondeau, 1875 (1876);
Grand capriccio, op.10, 1843 (1845);
Air suisse, op.11, 1844 (1845);
Fantaisie gracieuse, op.12, 1844 (1846), rev. as Fantaisie, 1881 (1881);
Sonate avec fugue, op.14, 1844 (1845), rev. as Grande sonate, 1881 (1882);
6 poèmes, op.15, 1845 (Mainz, 1846);
Album lyrique, op.17, 1845 (Hamburg, 1846), rev. 1849 (1874–7);
2 Paraphrasen on Liszt lieder, op.18, 1845 (Cologne, 1846): Du bist wie eine Blume, Mild wie ein Lufthauch;
Fantaisie dramatique, on themes from H. Esser’s Les deux princes, op.19, 1845 (Brunswick, 1847)
2 morceaux de salon, op.20, 1845 (Brunswick, 1847);
Loreley, op.21, 1846 (Vienna, 1846);
2 rhapsodies élégiaques, op.22, 1846 (Vienna, 1846);
3 pièces caractéristiques, op.23, 1845 (1845);
Valse mélancolique, op.24, 1846 (Vienna, 1846);
Romance-étude, op.25, 1846 (Vienna, 1846);
Den Manen Scarlattis, op.26, 1846 (Vienna, 1846);
Angelens letzter Tag im Kloster, op.27, 1845–6 (1846);
Tarantelle, op.31, 1846 (Vienna, 1847);
Am Rhein, op.32, 1846 (Vienna, 1847);
6 Lieder, op.34, 1847 (Stuttgart, 1847)
Capriccietto, on themes from Weber’s Der Freischütz, op.35, 1847 (Stuttgart, 1848);
Fantaisie militaire, on themes from Meyerbeer’s Les Huguenots, op.36, 1847 (Stuttgart, 1848);
Fantasie, on themes from Bellini’s La sonnambula, op.37, 1847 (Stuttgart, 1848);
Grande mazurka, op.38, 1847 (1847);
Notturno, after Liszt, op.39, 1847 (1847);
Capriccietto à la bohémienne, op.40, 1847 (1848);
Romanze, op.41, 1847 (1853);
Le prétendant, after Kücken, op.42, 1847 (1847);
Divertimento, on themes from Halévy’s La Juive, op.43, 1848 (Stuttgart, 1848)
Fantaisie, on themes from Rossini’s Il barbiere di Siviglia, op.44, 1848 (Stuttgart, 1848); Reminiscenzen aus Mozarts Don Juan, op.45, 1848 (Stuttgart, 1848);
The Last Rose of Summer, op.46, 1849 (Hamburg, 1849);
Tanz-Capricen, op.54, 1852 (Berlin, 1853);
Frühlingsboten, 12 pieces, op.55, 1850–52 (Magdeburg, 1853);
3 Salonstücke, op.56, 1849 (Hanover, 1854);
Schweizerweisen, 9 pieces, op.60, 1851 (1855)
[4 pieces], op.61: 1 Caprice, on themes from Wagner’s Lohengrin, 1853 (1855), 2 Reminiscenzen, on themes from Wagner’s Der fliegende Holländer, 1853 (1855), 3 Fantasie, on themes from Wagner’s Tannhäuser, 1853 (1859), 4 Capriccio in Rondo form, on themes from Schumann’s Genoveva, 1855 (1863);
3 Salon-Etüden aus Wagners Opern, op.62, 1853 (Berlin, 1855);
Capriccio, op.64, 1855 (1857); [2 pieces], op.65, 1855 (1865):
1 Fantasie, on themes from Berlioz’s Benvenuto Cellini, 2 Caprice, on themes from Raff’s König Alfred
5 Transkriptionen, op.68, 1857 (1857) [on works by Beethoven, Gluck, Mozart, Schumann and Spohr];
Suite, a, op.69, 1857 (Erfurt, 1857);
Trovatore et Traviata, 2 salon paraphrases after Verdi, op.70, 1857 (1857);
Suite, C, op.71, 1857 (Weimar, 1858);
Suite, e, op.72, 1857 (Weimar, 1858);
3 Klavier-Soli, op.74, 1852 (1859);
Suite de morceaux pour petites mains, 12 pieces, op.75, 1858–9 (1859–60);
Cachoucha-caprice, op.79, 1858 (1861);
[2 pieces from Verdi’s Les vêpres siciliennes], op.81, 1858 (1861): 1 Sicilienne, 2 Tarantelle; Mazurka-caprice, op.83, 1858 (Mainz, 1861)
Chant de l’Ondin, op.84, 1858 (1861);
Introduction et allegro scherzoso, op.87, 1858 (1862);
Am Giessbach, op.88, 1858 (1862);
Villanella, op.89, 1859 (1862);
Suite, D, op.91, 1859 (1862);
Capriccio, op.92, 1860 (1862);
Dans la nacelle, op.93, 1860 (1862);
Impromptu-valse, op.94, 1860 (1862);
La polka de la Reine, op.95, 1861 (1863);
3 sonatilles, a, G, C, op.99, 1861 (1864–5);
Le galop, op.104, 1861 (1864);
5 églogues, op.105, 1861 (1865);
Fantaisie-polonaise, op.106, 1861 (1865);
Saltarello, op.108, 1863 (1865);
Rêverie-nocturne, op.109, 1863 (1865)
La gitana, op.110, 1863 (1865);
2 Capricen, op.111, 1856 (1857);
Ungarische Rhapsodie, op.113, 1863 (1865);
2 morceaux lyriques, op.115, 1864 (1865);
Valse-caprice, op.116, 1864 (1865);
Valse favorite, op.118, 1864 (1865);
Fantasie, op.119, 1864 (1865);
Spanische Rhapsodie, op.120, 1864 (1865);
Illustrations de L’Africaine de Meyerbeer, op.121, 1864 (Berlin, 1866);
[3 pieces], op.125, 1865 (1865): 1 Gavotte, 2 Berceuse, 3 L’espiègle;
3 Klavierstücke, op.126, 1865 (Bremen, 1866);
2 études mélodiques, op.130, 1866 (1867)
Styrienne, op.131, 1866 (1866);
Marche brillante, op.132, 1866 (1866);
Elegie, op.133, 1866 (1867);
Vom Rhein, 6 pieces, op.134, 1866 (1867);
Blätter und Blüten, 12 pieces, op.135, 1866 (1867);
Fantaisie, op.142, 1867 (1869);
Barcarolle, op.143, 1867 (1869);
Tarantelle, op.144, 1867 (1869);
Capriccio, op.146, 1868 (1869);
2 méditations, op.147, 1868 (1869);
Scherzo, op.148, 1868 (1869);
2 élégies, op.149, 1868 (1871);
Allegro agitato, op.151, 1868 (1871);
2 romances, op.152, 1868 (1871);
Valse brillante, op.156, 1870 (1871)
[2 pieces], op.157, 1870 (1871): 1 Cavatine, 2 La fileuse;
Suite, g, op.162, 1870 (Berlin, 1871);
Suite, G, op.163, 1871 (1871);
[3 pieces], op.164, 1871 (Berlin, 1872): 1 Sicilienne, 2 Romance, 3 Tarantelle;
La cicerenella, op.165, 1871 (1872);
[2 pieces], op.166, 1871 (1872): 1 Idylle, 2 Valse champêtre;
Fantasie-Sonate, op.168, 1871 (1872);
[2 pieces], op.169, 1871 (1872): 1 Romance, 2 Valse brillante;
La polka glissante, op.170, 1871 (1872);
Orientales, 8 pieces, op.175, 1872 (1873);
Variationen über ein Originalthema, op.179, 1873 (Berlin, 1873)
Totentanz, op.181, 1873 (1873);
Erinnerung an Venedig, 6 pieces, op.187, 1873 (1874);
Feux follets, op.190, 1874 (1874);
[4 pieces], op.196, 1875 (1875): 1 Im Schilf, 2 Berceuse, 3 Novelette, 4 Impromptu;
Capriccio, op.197, 1875 (1875);
Suite, B , op.204, 1876 (Berlin, 1877);
Von der schwäbischen Alb, 2 character-pieces, op.215, 1881 (1882);
Aus der Adventzeit, 8 pieces, op.216, 1879 (Berlin, 1885);
Valse-rondino, on themes from S. Salomon’s Das Diamantkreuz, 1849 (1850);
Abendlied von Schumann, 1865 (1866);
Valse-impromptu à la tyrolienne, 1868 (Mainz, 1869)
30 fortschreitende Etüden, 1868–72 (Hanover, 1883);
Improvisation, on L. Damrosch’s lied Der Lindenzweig, 1870 (Breslau, 1871);
Berceuse d’après une pensée de Gounod, 1872 (1872);
Valse de Juliette de Gounod, 1872 (1873);
4 Capriccios über walachische und serbische Weisen, 1875 (1876)

Lost works:
3 fantaisies de soir, 1841;
Schicksale, 1841;
Fantasie, op.15, 1844;
3 Characterstücke, op.17, 1844;
Jarner Fantasie, op.19, 1844;
Jaléo and Xeres, Sp. dances, op.20, 1844;
Jagd-Fantasie, op.21, 1845;
In den Bergen, op.22, 1845;
Impromptu, op.16, 1845;
8 Lieder von Mendelssohn, op.19, 1845;
2 airs fameux, from Meyerbeer’s Robert le diable, op.28, 1846;
Liebesfrühling, op.29, 1846;
2 mazurkas, op.30, 1846;
Albumstück, op.33, 1846;
Alla tarantella, 1846;
Scherzo fantastique, 1846;
Sérénade, 1847;
Sicilienne, 1847;
Fantasie, on themes from Kücken’s Der Prätendent, 1847;
Grosse Fantasie, on themes from Salomon’s Das Diamantkreuz, 1849

Other works:
Pf 4 hands:
Valse-rondino, on themes from Meyerbeer’s Les Huguenots, op.13, 1844 (1845);
12 morceaux, suite, op.82, 1858–9 (1861–5);
Humoreske in Walzerform, op.159, 1870 (Berlin, 1871);
Reisebilder, 10 pieces, op.160, 1870 (1871);
Aus dem Tanzsalon, op.174, 1872 (1872);
arrs. of orch and chbr works

Other kbd:
Chaconne, a, 2 pf, op.150, 1868 (1869);
Fantasie, g, 2 pf, op.207, 1877 (1878);
Introduktion und Fuge, e, org, 1866 (1867)

Edns/arrs.:
J.S. Bach: vn sonata movts, arr. pf, 1865 (1867–9), 6 vc suites, arr. pf, 1868 (1869–71), Chaconne, d, arr. orch, 1873 (1874), orch suites nos.1–3, arr. pf, 1874 (1875), Eng. Suite no.3, arr. orch, 1874;
Beethoven: 2 vn romances, arr. pf, 1849 (1849);
Handel: 2 marches from orats Saul and Jephtha, arr. pf, 1859 (1879);
B. Marcello: 3 vc sonatas, orig. bc arr. pf, 1875;
Wagner: Die Meistersinger, excerpts, arr. pf, 1867, as Reminiscenzen (Mainz, 1868)

Literatura;

Die Stellung der Deutschen in der Geschichte der Musik: kunsthistorische Skizze’, Weimarisches Jb für deutsche Sprache, Literatur und Kunst, i (1854), 171–214
Die Wagnerfrage kritisch beleuchtet, i: Wagners letzte künstlerische Kundgebung im ‘Lohengrin’ (Brunswick, 1854)
Essays in Caecilia, Jb für deutsche Sprache, Leipziger illustrierte Zeitung, NZM, Signale für die musikalische Welt 

Font: En català: Joseph Joachim Raff (1822-1882) En castellano: Joseph Joachim Raff (1822-1882) In english: Joseph Joachim Raff (1822-1882) - Altres: Joseph Joachim Raff (1822-1882)



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The major work on the CD is Die Tageszeiten, which Raff called a ‘Concertante’, but which is actually a forty one-minute hybrid work, combining the concepts of symphony (it is in four movements), concerto (here, for piano) and oratorio (the choir commenting on the shifting aspects of day and night). Its forebears are such works as Beethoven’s Choral Fantasy and Haydn’s The Seasons. The text which Raff set in this work is by his 17 year-old daughter, Helene: it is a 4-part sequence of well-written, but essentially naïve stanzas which describe bucolic scenes during day and night and the impressions made by them. On their own, their value as poetry is slight; when set to music, however, the result is a delightful innocence and freshness which are superbly conveyed in this premiere recording. The first movement, which describes an idyllic daytime country scene, opens with a lengthy piano solo, brilliantly brought off by Tra Nguyen, and continues with a happy dialogue between the soloist and the orchestra – here the alert-sounding Symphony Orchestra of Norrlands Opera, Sweden, conducted with real understanding of Raff’s delicate idiom by Andrea Quinn. All is kept wonderfully buoyant and bright. When the Sångkraft Chamber Choir enters, one might at first find their contribution somewhat lightweight, but as the music progresses, one appreciates their compact, but gleaming tone and their part in keeping everything to scale. This is Raff, after all, not Brahms! 

The second movement Andante, on the subject of evening, begins with the beautifully hushed tones of strings and choir, but soon goes on to explore a wider range of emotions than we have encountered to this point. Particularly attractive is the rippling accompaniment of the piano in the closing moments of the movement, so sensitively played by Tra Nguyen. The overall effect is of ethereal other-worldliness interrupted by occasional darker thoughts which are then soon dispelled. With the third movement, we are in different psychological territory. Suddenly, a creepy-sounding Allegro steals up on us as the text deals with the capacity of the night to counter and cool various troublesome human emotional states. The movement ends with the piano rippling its way into a final quiet comment by the choir. The finale, also Allegro, begins with the dismissal of the night as a new day dawns. And so we return to the carefree mood of the opening movement, but now there is a greater sense of the integration of the three protagonists – piano, orchestra and choir – and overall a more heightened sense of rejoicing. What a life-affirming work this is! And how sensitively it is performed here by all concerned! Miss Nguyen and Miss Quinn have put us all in their debt. A contrasting pair of short works for choir and orchestra follows. The first, Morgenlied, a setting of a poem by Johann Georg Jacobi, describes a new day in warm, majestic tones – and again, the performance preserves a due sense of Raffian intimacy while expanding magnificently at the climaxes. Wonderful. 

The second piece, Einer Entschlafenen, (text by Arnold Börner) is quite different: this is a peace-filled send-off sung to the soul of a woman who has just passed away, the music eventually rising to glorious heights before the quiet ending. The final work on the CD is the five-movement cantata for choir and orchestra, Die Sterne, which is essentially a free treatment of ideas associated with the subject of stars. The text is again by Helene Raff, written under the pseudonym of Helge Heldt. This is another beautiful work, with a great variety of moods explored both within the movements and when comparing one movement with another. It holds the attention throughout and continually delights the ear. A good idea of the range of moods depicted can be gained from the third movement which seems to oscillate between straightforward diatonic material and more slithery chromaticism. However, by far the most gorgeous music is contained in the fourth movement which begins with an absolutely inspired melody for French horn, accompanied at first by strings, but with the later addition of clarinets. One is tempted to argue that the CD is worth its purchase price for this movement alone! The fifth and final movement brings the work to another joyous, this time almost hymn-like conclusion. The recording quality throughout the CD is finely tuned to Raff’s writing: the acoustic is sufficient to enable the big climaxes to expand while at the same time permitting no undue inflation of the music.

Alan Howe (CD Reviews: Works for Choir, Piano & Orchestra)

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Informació addicional...

RAFF, J. - Works for Choir, Piano & Orchestra

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  2. Many thanks and regards from The Netherlands
    Veel dank en groeten uit Nederland.

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  3. Sería posible resubir este disco?? El link expiró. Muchas gracias!

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