Raff: Piano Quartets

Joachim Raff (1822-1882) once occupied a comfortable position in the stratosphere of major German composers. By the 20th century, he became a mere footnote in music history. Part of the reason is a blemished reputation for writing hackneyed trifles for the amateur market, which he was forced to do during a period of financial hardship. This accounts for his extensive oeuvre reaching opus 216. Much of Raff’s music is conventional; some of it is mediocre. Yet a lot of it—particularly the chamber music—has merit. Even the occasional masterpiece can be found. Raff’s two piano quartets are not his best—those would be the four piano trios. But they possess fine writing and attractive qualities in a German Romantic style akin to Mendelssohn and Brahms with a dab of Liszt in the piano writing.The Piano Quartet No. 1 in G major (1876) is largely genial, sunny, and distinctly Mendelssohnian. It opens with an expansive “Allegro” written in the classical mode with sparkling Haydnesque piano filigree and runs. Raff demonstrates exquisite contrapuntal writing and well-wrought thematic material. In the “Allegro molto” Raff fashions a devilish scherzo with fast bowing and hectic galloping triplets on the piano. But the finest movement is the “Andante quasi adagio,” one of supreme dignity and introspection, featuring intense pangs of expression and a Russian character that anticipates late Tchaikovsky. The innocuous finale is a triumphant journey towards light and essentially a perpetuum mobile with brilliant piano activity.Much more substantial and emotionally complex is the Piano Quintet No. 2 in C minor (1877). Here Raff lives up to the Beethovenian vision of C minor with a tempestuous “Allegro” of virtuosic pianism, somber bass registers, and a tumultuous development section. Next is a short and vigorous “Allegro” with a nice defiant theme. Typical of Raff, he pours his most arresting and heartfelt ideas into the slow movement, an expressive “Larghetto” of tender beauty, pathos, and long stretches of impassioned writing. Capping the work is a light and relaxed finale harkening back to the classical era and nodding to Brahms. There are some spurts of tension and momentum, but mostly fast piano glitter and upbeat charm.Bottom line: Raff’s piano trios remain his greatest chamber efforts, but these two piano quartets have much to recommend them; the second in C minor is particularly dramatic and interesting. Performances by the Ensemble Il Trittico are superlative and above reproach; balance, tone, technique, and expressive conviction are all there.

I am in awe of the Raff Piano Quartets. If there is one work that can be called Raff's masterpiece it's this, his Op. 202. In this work he establishes himself as a worthy successor of Beethoven. These 2 Quartets are nothing less than symphonic in their development on a grand scale. The complete assurance with which he handles his materials is dazzling. I think this is some of the best music of its kind of the 19th century--the equal of any of the productions in this form from the likes of Schumann, Brahms, Dvorak, Faure, yielding nothing to them. The performance by Ensemble Il Trittico and guest artist sets the standard by which future recordings will have to be measured for a long time to come. Highly recommended.

There is a reawakening of Raff's music taking place and rightfully so. If you enjoy ensemble music by Schubert, Mendelssohn, and Schumann, I see no reason why you would not like these. In my opinion, Raff's trios are more lyrical than his quartets, but they are all very good to hear. The sound quality and the execution of the pieces appear first rate.

Joachim Raff's two piano quartets were first performed in 1877. They are splendidly crafted works, clearly structured and full of strong ideas and fluent counterpoint.The First Quartet's first movement is magnificent. After a short harmonically oblique opening statement, Raff quickly introduces the rest of his material, a rising fragment at 38 secs and a more lyrical idea at 1 min 26 secs. This idea is eloquently extended and, at 2 mins 43 secs, the exposition is repeated. The development is a characteristic Raffian contrapuntal tour-de-force. It utilizes the first two ideas only and so, at the recapitulation, the music moves straight into a restatement of the lyrical idea, now in the tonic key (G major) of course, at 8 mins 43 secs. But Raff has a surprise in store. Instead of coming to the expected close, at 10 mins 8 secs a fugato based on the two main themes begins. It is not long, however, before the lyrical idea is contrasted with it. This superb movement ends crisply with yet more contrapuntal wizardry.The first part of the scherzo has two main ideas. It trio section is a warm melody for the strings and, after the return of the scherzo, there is a contrapuntal coda which, at one point, quietly refers to the lyrical tune from the trio.The slow movement is a set of variation on a hymn-like tune which is first stated by the piano. The early variations are lyrical, with Variation 4 as a highlight, but Variation 5 is more rhythmical. Towards the end, a short piano cadenza heralds a Mendelssohnian scherzo which leads to a final variation more closely related to the theme in its original form. All in all, I wouldn't say that this is one of Raff's most memorable sets of variations. At times, as in the 'cello tune of Variation 3, he seems constrained by the need to make his melodies fit the theme's harmonies. The result in this variation is a tune which sounds more like an inner part. There is, though, a lot of lovely music in this movement.The finale is a fusion of rondo and sonata form. Its main elements are its opening march-like theme, a highly rhythmical tune, a skittish passage led by the piano which will remind you of the final pages of Raff's Piano Concerto, and a more lyrical idea first given to the 'cello. All these ideas are contrapuntally treated, of course, and this superb quartet eventually comes to an exhilarating conclusion.The C minor Second Quartet is scarcely less fine but its first movement is not as concentrated as that of the First Quartet, there being far less emphasis on contrapuntal writing. The exposition's ideas are closely related and the music makes dramatic use of tonal surprises. At a first hearing, make sure you pick up the fragment of melody first heard at 1 min 9 secs. Beginning at 3 mins 30 secs, the exposition is repeated. The development section soon makes extensive contrapuntal use of that melodic fragment from the exposition but gradually the main theme reasserts itself. The recapitulation arrives at 9 mins 22 secs but another development section follows. For a while it seems as though the music is going to end in the major but a final statement of the main theme confirms the minor mode.The scherzo, also in C minor, is unusual in that, although it follows the usual ABA pattern, the trio is extended, making considerable contrapuntal use of music from the scherzo. The effect, then, is of a much more unified scherzo movement than usual. The return of the scherzo includes an unusual passage in which the music passes through several keys a semitone apart in its quest to reach home.The slow movement is essentially a ternary structure. Its lovely main theme is another hymn-like melody. As always, Raff is concerned to use his contrapuntal skill to unify the music. In this case, the rhythmical central tune's accompanying scales are heard again at the return of the main theme. At a later restatement this theme is interrupted by a series of cadenzas for each of the string instruments.The sonata form finale is easily followed. The introduction, melodically important in itself, again features cadenzas for the strings. The music's main elements are quickly assimilated and Raff's contrapuntal skill is soon in evidence. There is an upbeat coda, complete with stretto entries, and the music ends in celebratory mood.There is a caveat I would like to add, however. Raff was very much a craftsman composer. He was enormously productive. Other greater composers were also essentially craftsmen and were equally productive: Mendelssohn, Saint-Saens and even Dvorak for example. The reason why Raff's name is not well known is that, unlike them, he hardly ever struck melodic gold. His melodies are often homespun and somewhat characterless. (The quality of the Fifth Symphony's ideas make it a glorious exception.) Even the once famous "Cavatina" has now faded. You feel that Raff's tunes were chosen because they lent themselves to the compositional techniques he favoured and not for their intrinsic value. To be brutally honest, sometimes you feel as though he was composing for the sake of it. As a result, you may feel a certain emotional paucity in much of Raff's music. Dr Avrohom Leichtling, in the excellent notes which come with this disc, seems aware of this weakness but, in his eagerness to provide a defence, protests too much. To say, for example, that, in the First Quartet's scherzo there is an "inevitable demonic rush into the abyss" seems absurd. These things are largely personal, of course, but I certainly don't hear Raff's music in this way and, if contemporary audiences did, it wouldn't have vanished so soon after his death. Make no mistake, though: this is superbly written and enormously stimulating music. It is beautifully performed and recorded here.

Ce disque des deux quatuors pour piano de Joachim Raff est un prodige. Un nouveau prodige même, tant il est rare que la musique de ce compositeur prolifique mais mal connu soit décevante. Et il sera bien difficile de trouver un point faible dans le programme offert ici.D'un point de vue technique, la notice trilingue est intelligente et richement documentée. L'analyse des deux quatuors s'y fait mouvement après mouvement ; c'est un modèle du genre. La prise de son est excellente et équilibrée ; même dans une simple stéréophonie, ce SACD s'écoute avec bonheur.Joachim Raff compose ici une musique qui présente toutes ses qualités habituelles. Né en 1822, décédé dès 1882, Raff a mené une belle carrière, secrétaire de Liszt et enfin directeur du conservatoire de Francfort. Mais il reste stylistiquement inclassable dans un monde musical germanique partagé entre les tenants de la musique nouvelle, autour de Liszt et de Wagner, et les partisans de la tradition formés au conservatoire de Leipzig et rassemblés autour de Brahms. Raff échappe à ce classement réducteur ; il a composé des œuvres de musique pure et de la musique à programme, des symphonies comme de la musique de chambre. Il a aussi beaucoup composé. Le compositeur malheureux et torturé, le mage romantique incompris, l'artiste maudit : que nenni. Il tomba dans l'oubli.Son premier quatuor, en sol majeur, porte pourtant l'opus 202. C'est une oeuvre de la maturité, et donc une composition accomplie, parfaitement maîtrisée. On y entendra une association brillante entre les instruments, une construction habile et savante, un sens de la mélodie évident et une virtuosité exigeante. Comme dans une symphonie romantique, le final est triomphal.Le deuxième quatuor forme le deuxième élément de l'opus 202. Plus sombre (en do mineur), ce quatuor témoigne des mêmes qualités et reflète la profondeur inquiète de l'inspiration de son auteur. A l'écoute du scherzo, plus d'un pourrait se tromper et le prendre pour une page de Schubert. Le mouvement lent est particulièrement touchant.Compositeur talentueux, Raff sort progressivement de l'oubli. Un tel disque jette un éclairage flatteur sur son oeuvre et sur ses talents de composition. Il permet de découvrir une musique habile et inspirée, qui ne démérite pas face aux grands maîtres. C'est une valeur sûre, une révélation.

After enjoying the Raff Quintets, I expected high quality musicianship and interpretation. The Piano Quartets exceeded my expectations and have become a favourite in my collection.

Alles sehr gut gelaufen.