Famous composers and their works, Vol. 3

by Unknown

In 1845 the wizard Liszt appeared in Switzerland. The great pianist was not long in discovering Raff’s gifts and was equally quick to see that the young man was struggling against privations that would have overwhelmed a weaker nature. Liszt invited Raff to accompany him on a concert tour, and thus laid the foundations of the beginner’s reputation. Together they travelled in the principal German cities, the tour ending at Cologne. Thence Liszt returned to Paris, but Raff remained. This stay in Cologne was a happy one, for it led to a personal acquaintance with Mendelssohn. The famous master, who had given the young composer his first help, now displayed fresh interest in him and made him a proposition to go to Leipsic and continue his studies under Mendelssohn’s own guidance. Such an offer was not to be refused, but the fates were not propitious. Just as Raff was making his preparations to go to Leipsic in the fall of 1847 Mendelssohn’s untimely death put an end to his hopes. He had not been idle while in Cologne, however, for he had studied composition with great earnestness, and had sent to the Cäcilia, published in Berlin by the noted contrapuntist, Siegfried Dehn, many contributions displaying wide knowledge of musical science. Later he published “Die Wagnerfrage” (“The Wagner Question”), a pamphlet which attracted much attention, as did all discussions of the works of the Bayreuth genius.

Raff now became anxious to make a permanent home for himself in one of the larger German cities. He appealed once more to Liszt, who gave him a letter of introduction to Mechetti, at that time a prominent publisher of Vienna. It seemed as if ill luck relentlessly pursued Raff, for while he was actually on the way to visit Mechetti, the latter died. In spite of such obstacles to his advancement the composer continued his labors with undaunted spirit. He returned to his old home at Würtemberg and resumed his studies. For a short time he taught and studied at Stuttgart, seeking in the latter city to fill the gaps in his early training. That his ambition was unconquered is well proved by the fact that in Stuttgart he wrote his first large work, an opera in four acts entitled “King Alfred.” In Stuttgart, too, he was in some measure recompensed for his many trials and adversities by making the acquaintance of one who was destined to be his life-long friend and his champion after death. This was Hans von Bülow, then a youth of barely twenty, not yet the famous pupil of Liszt, but a law student who was neglecting his studies for the pursuit of music. Von Bülow, no doubt, perceived that to introduce to the public a new composer of merit would add to his own success as a player, and he accordingly performed from memory a recently finished composition of Raff’s, which he had seen for the first time two days before. The result was a storm of applause for both player and composer. This success cemented the friendship of the two, and, as all who have often heard the pianist well know, Dr. von Bülow very rarely plays a miscellaneous programme on which the name of Raff does not appear.

It was in 1850 that the young man met Liszt again, this time in Hamburg, and followed the magnet of attraction to Weimar. Here at last it seemed as if Raff had found the atmosphere for which his spirit hungered. Music, literature and art permeated the air; and the foreign artists who came to lay their tributes of flattery before the throne of the musical idol of the hour had smiles of approval for Raff, who basked in the sunlight and let the essence of the new German ideas in music saturate his soul. He went to work with renewed vigor, and inspired by the presence of competent performers wrote his first chamber music (Quatuor No. 1 in D minor for strings), some of his best piano suites, his setting of Geibel’s “Traum König und Sein Lieb” (“Dream King and his Love”), “Wachet auf” and other well known works. Raff made himself popular and respected in the artistic circles of Weimar by his learning. When Berlioz, who was ignorant of German, was there and a banquet was given in his honor, Raff relieved the situation of some difficulty by making the address to the guest in Latin, an attention which highly delighted the Frenchman.

In the meantime Raff had found his domestic fate in Doris Genast, an actress, grand-daughter of Goethe’s favorite actor. This young lady having accepted an engagement in Wiesbaden, the composer followed her thither in 1856. He speedily became the most popular music teacher in the city, but his compositions still failed to find a ready market. Nevertheless he employed his spare hours unceasingly in writing. In 1859 he and Fräulein Genast were married, and a daughter was the result of their union. Previous to his marriage he composed in 1858 his second violin sonata and the incidental music to “Bernhard von Weimar,” a drama by Wilhelm Genast. The overture to this drama became a favorite and was played frequently in many parts of Germany. In the summer of 1859, however, he began the work which was to establish his fame. This was his first symphony, “In the Fatherland.” It was ready for the publisher in 1861, when the composer was informed of the prize offered by the “Society of the Friends of Music of the Austrian Empire” (“Gesellschaft der Musikfreunde”), for the best symphony offered in competition. Raff sent in his new work, and in 1863 a committee consisting of Ferdinand Hiller, Carl Reinecke, Dr. Ambros, Robert Volkmann and Vincenz Lachner adjudged it the best of thirty-two compositions. Other large works followed, and their success enabled him to give up teaching to devote himself wholly to composing. No artist’s life shows more plainly than Raff’s the result of escape from poverty’s iron control. Hitherto he had written copiously for the drawing-room, but now he sought to produce works wholly artistic in purpose. His retirement after the beginning of the year 1870 was almost idyllic, being broken only by the visits of fellow artists. It is impossible to agree with the oft-repeated statement that his best works date from this period, for the beautiful “Im Walde” (“In the Forest”) symphony appeared in 1869; but there is every proof of a higher purpose in the compositions after 1870 than in the majority of those originating earlier than that year. Perhaps, too, Raff’s lack of business ability may be accepted as an evidence of his artistic sincerity. For his first, second and fourth symphonies he received no cash payment; for the third (“Im Walde”) he got sixty thalers, the same amount being paid him again, when the work was sold to a French publisher. Thereafter, however, he seems to have acquired courage enough to ask fair prices for his works.

In 1877 Raff left Wiesbaden to become director of the new Conservatory of Music at Frankfort. He taught composition himself, arranged the library, and conducted the institution upon such a broad-minded plan that its success was assured from the beginning. He continued his labors in composition, his symphonies after the seventh, having been written at Frankfort together with other important works. Ignorant of the fact that a mortal disease had fastened upon him he worked with undiminished zeal till 1882, when on the night of June 24, heart disease ended his career.

Fac-simile autograph letter from Raff to a personal friend.

Raff’s principal works are the following: operas—“King Alfred,” Weimar, 1850; “Dame Kobold,” (comic) Weimar, 1870; “Benedetto Marcello,” (lyric), not performed; “Samson” (opera seria), not performed.

For voices and orchestra—“Wachet Auf” (“Be on Guard”), opus 80; “Deutschland’s Auferstehung” (“Germany’s Resurrection”), opus 100; festival cantata for the fiftieth anniversary of the Battle of Leipsic; “De Profundis” (Psalm CXXX.) for eight voices and orchestra, opus 141; and “Morgenlied” (“Morning Song”), for mixed chorus and orchestra, opus 171.

For orchestra: symphonies—“In the Fatherland,” opus 96; No. 2, in C, opus 140; No. 3, “Im Walde,” in F, opus 153; No. 4, in G minor, opus 167; No. 5, “Lenore,” in E, opus 177; No. 6, in D minor, opus 189; No. 7, “In den Alpen,” B flat, opus 201; No. 8, “Frühlingsklänge,” (“Sounds of Spring”) in A, opus 205; No. 9, “Im Sommer” (“In the Summer”) in E minor, opus 208; No. 10, “Im Herbstzeit” (“In Autumn”), F minor, opus 213; No. 11, “Der Winter,” A minor, opus 214; four suites in C, F, E minor and B flat; and nine overtures, including those to “Romeo and Juliet,” “Othello,” “Macbeth” and the “Tempest.”