Joachim RAFF (1822-1882)
Chamber Music - Volume 1
String Quartet No 1 in D minor, Op 77 [33:55]
String Quartet No 2 in A major, Op 90 [36:52]
Leipziger Streichquartett
rec. 2020, Konzerthaus der Abtei, Marienmünster, Germany
MDG 307 2187-2 [70:49]
As Romantic Swiss composer Joachim Raff receives greater recognition, so the catalogue of his music is growing and diverging from his symphonies which have now been blessed with some fine recordings. This has led to an exploration of his chamber music with his violin sonatas and string quartets taking centre stage; indeed, this is, I think, the third time that a recording project of all the eight string quartets has begun, although I think the Quartetto di Milano’s survey for Tudor floundered after just two volumes, of which I have one, TUDOR 7079. The Mannheimer Streichquartett have also committed two volumes to disc for CPO, completing six of the quartets so far, with only Nos 1 and 5 left to release. Whether this will be a complete survey of Raff’s chamber music is not clear, but I do hope so as, although I am familiar with some of his string quartets, piano trios and violin sonatas, there is still a lot more left to explore including piano quintets and quartets, a string octet and a string sextet as well as works for cello and piano.
There was an early attempt at writing a string quartet, the String Quartet in C major, which Raff worked on during 1849 and 1850 but it was later destroyed by the composer, who was known to be self-critical.
This after it received some acclaim by Josef Joachim and other members of Liszt's circle at Weimar, having performed the work several times. It was not until five years later in 1855 that Raff completed the work which was to become
String Quartet No 1 in D minor, Op 77. A mature and persuasive sounding work in a classical four movement structure, this quartet was a success from the outset; its largely Romantic palette earned it many plaudits and leading to publication by Schuberth of Leipzig. Its popularity was such that Raff then arranged it for piano four hands in the March of 1877. Contrasting movements, the first and third being darker and more brooding, the second and fourth brighter lend the quartet drama and interest. The first thing you appreciate when listening to this new recording by the Leipziger Streichquartett is their choice of tempo; their recording is nearly four and a half minutes quicker overall than that of the Quartetto di Milano. Half of this is taken up in the first movement with here, the opening viola motif that leads into the first main theme on the violin, having a more intense shimmering effect, giving it more of an edge than the Tudor recording.
The A major String Quartet No 2 is new to me. Another incredibly assured work, it is again written in the classical four movements and was composed in somewhat of a rush; his daughter Helene later said in her biography of her father, that Raff worked "feverishly" on it in Weimar in May 1857 - not that you can tell, as this is again a most accomplished work. Raff had in 1856 moved to Wiesbaden, where he befriended Karl Müller, a local influential musician who, along with his siblings Hugo, Bernhard and Wilhelm, made up the Müller Brothers String Quartet to whom the quartet is dedicated - although there is no evidence that they performed it. It begins with the most expansive and longest of the four movements, which is quite rhapsodic in character. The main theme emerges out of the composer’s musings, the development of which is key to this movement, then a lovely second lyrical theme emerges on the cello, which is later developed and melded with the first theme at the recapitulation. The second movement scherzo is almost like a rondo and is less than half the length of the first movement. Its principal theme is quite lovely, and as this is developed a lilting, almost folk like, second theme emerges which itself is developed until it becomes intertwined with the first theme towards the movement’s conclusion. The third slow movement is moderately paced and is the only movement of the four which is slower than the Quartetto di Milano’s recording. I must say that the extra fifty seconds makes all the difference, as the added time helps to draw out the thematic material and give the movement greater gravitas. The final movement is a complete contrast with its opening based upon three dancelike themes before Raff draws upon thematic material from the previous movements and gradually introduces them to the original material, giving this an almost cyclical feeling, before concluding with a flourish.
The playing of the Leipziger Streichquartett, as with other discs I have by them, is excellent; they generally employ quicker tempos than the Quartetto di Milano, which gives this new recording the edge. There is a greater sense of control and tension throughout, and even in the slow movement of the A major Quartet, where the tempo is marginally slower, their controlled playing holds sway over their competition. This performance is one to savour and bodes well for the future releases in this series. The recorded sound is excellent; MDG have been using the Konzerthaus der Abtei, Marienmünster for their recordings for quite a while now and its acoustic works well with their recording techniques, getting the best from both the music and the performers. The booklet essay is informative and interesting, although in a couple of places a little more care should have been taken with the translation into English, but it still adds to the overall experience. I look forward to subsequent volumes.
Stuart Sillitoe
