Joachim Raff - 3 Piano Solos (1852)

[쿤타킨테]

I. Ballade: Andantino, quasi larghetto - 00:00
II. Scherzo - Presto - 10:31
III. Metamophosen: Andante - 16:40

From 1860 to 1900 the name of Joachim Raff (1822-1882) 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 such masters as Mendelssohn, Schumann, Brahms, and Tchaikovsky. 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.
Raff was born near Zurich and his family had hoped he would be come a school teacher, but music was his first love. Basically self-taught, Raff sent some of his early compositions to Mendelssohn who immediately recognized his talent and arranged for their publication. Unfortunately, Mendelssohn died before he could help Raff much more. The young composer then approached Liszt who also took an interest in him and took him on as his personal secretary and copyist. During the six years he spent with Liszt, Raff became a member of the so-called "New German School" led by Wagner and Liszt. Although he broke from them in 1856, he was still regarded as a Wagnerite by the supporters of Brahms and the other classicists. In short, Raff was in neither camp, but attacked by both. Isolated, he went his own way, paying little attention to the musical politics of late 19th century Germany.

Despite their opus number, this set was actually written in 1852, the same year as the Chopinesque Dance Caprices, and yet they are amongst the most Lisztian of Raff's creations. Each piece in the set is written on a large scale and together they last 25 minutes. A ruminative lyrical Ballade and a particularly frenetic Scherzo precede the Metamorphosen. This last piece was premiered by Raff's friend Hans von Bülow in 1859 just after the set's publication. It is more individual than its companions, comprising evolving variations on a simple seven note theme which Raff develops organically as the work progresses.

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