Joachim RAFF (1822–1882)
Complete Music for cello and piano
Two Romances, Op.182 (1873) [9:04]
Two Fantasy Pieces, Op.86 (1854) [15:45]
Duo, Op.59 (1848, rev. 1867) [16:25]
Sonata for Cello and Piano in D major, Op.183 (1873) [26:49]
Joseph Mendoes (cello); Taeyeon Lim (piano)
rec. 11-12, 18 April, 2 May 2016, Citrus College recording studios, Glendora, California, USA.
First recordings except Duo
TOCCATA CLASSICS TOCC0341 [68:03]
As a follower of obscure composers, I have been familiar with
the name Joachim Raff for many years. To my delight, he seems to be one of
those whose music is gradually emerging from decades of neglect. This disc
- which was 'crowd-funded' - includes several first recordings,
all of which are indicated above.
The disc starts with a set of two ‘Romances’, published in 1873
as Op.182. As the title implies, these are charming pleasant little pieces,
full of good tunes and really rather nice. The first of the two - an ‘Andante’
- contains a slightly edgy middle section which is a good contrast to the
opening and ending of the piece. The main theme is very memorable and is splendidly
played and sensitively accompanied. The second, which is also an ‘Andante’,
is slightly longer, more complex in structure and a little more driven overall.
It is extremely cleverly constructed and full of invention. Interestingly,
these two pieces were written so that they could be played with horn or cello,
with piano accompaniment – it would be interesting to hear the horn
version as the writing seems so well attuned to the cello.
Next follow two linked ‘Fantasy Pieces’. The first part of the
opening piece reminds me of a Brahms' violin sonata in mood –
a sort of sunny reflective sound with gentle accompaniment from the pianist
while the cello winds a friendly sounding melody. Around 3:00, the gently
flowing music stops and is replaced with a comical pizzicato section for cello
and piano which will put a smile on your face. This is written like a question
and answer session for both instruments and after a couple of minutes, the
smoothly flowing lines of the earlier melodies return in order to be developed
into a ravishing tune with some lovely runs for the pianist to execute while
accompanying. This then stops and the pizzicato treatment returns. The ending
is especially effective with things winding down quietly before the second
part begins. This begins with a strange tune for piano alone which changes
key several times before settling down and the cello joining in. Things gradually
become a little more agitated with the pianist having some leaping about to
do but all in a peaceful way. There is a more forceful section at around 4:45
where the main theme is stated with some power before dissolving into a lovely
quiet little restatement for solo piano before both instruments relax into
a gorgeous conclusion.
The Duo, Op.59 follows and interestingly, this also exists in a version for
violin and piano; in that version, it has been recorded on CPO, along with
the first violin sonata. On that disc, the soloists were Ingolf Turban and
Jascha Nemtsov. The CPO is another fascinating CD, well worth seeking out;
it was reviewed
here in 2003. Anyway, the Duo in this version is slightly different from the
violin score - aside for being for a different instrument, obviously - as
this is an improved score completed by Raff in 1867. The first half is generally
more restrained and peaceful with some tuneful writing for both instruments
but nothing particularly virtuosic in terms of number of notes or speed. However,
as the work develops, it falls into the pattern of alternating sections of
reflective writing with more aggressive and powerful music; for example there
is a transition around 9:30 from urbane cello writing to something much more
gritty. This then changes into a memorable and playful little tune. The remainder
of the piece gradually increases in tension and the ending is a headlong rush
of virtuosity from both participants with some writing high up in the register
for the cello.
The final piece here is the Cello Sonata, Op.183. The opening ‘Allegro’
is a mixture of stormy and more reflective sections, excellently constructed
and stuffed with some really interesting and involving music. The opening
theme is again akin to a theme which could have been written by Brahms with
an overlay of cheerfulness. The conclusion is really powerful with both soloists
going full pelt, with neither putting a finger wrong. The second movement,
a short ‘Vivace’ as the cover notes say, seems to owe something
to Mendelssohn in general mood and in writing that is fleet of finger. There
is a slightly more restrained but bouncy central section which causes the
pianist a lot of leaping around the keyboard before the original opening music
returns at great speed – neither soloist has any problems with this
difficult music and both play marvellously. This whole movement could easily
become an 'earworm'. The following ‘Andante’ is
different again; the piano starts with a questioning phrase and is shortly
joined by the cello in a slightly melancholic tone, slowly gaining in anxiousness
and around 3:00, the piano takes over with the cello providing little interjections
into the general discourse. A short while later, the atmosphere changes again
and the music takes a more cheerful sounding path which it remains on until
the end of the movement. This is music which sort of “glows” as
it progresses and again, could easily stick in the mind. The ending is absolutely
wonderful as the piano descends quietly while the cello holds the bass note.
The ‘Finale’ is a return to more rapid writing for the participants,
starting quietly but gradually gaining in power. This is happy, sunny music
again, very well written for both instruments and full of memorable passages
and tunes. There is a shorter more anxious sounding section around 7:00 which
seems to serve as a bridge to the ending of the movement which once more is
relaxed and happy.
I completely fail to understand why any of the music on this disc is not more
widely played. Any of these pieces would make interesting additions to any
recital programme. This is utterly wonderful music with perfectly judged performances
throughout and neither instrumentalist stumbles. Cover notes are excellent
and informative and written by the founder of the Raff
website, Mark Thomas who has worked tirelessly to promote this composer.
These notes also make mention of some pieces by Raff for this combination
of instruments which are missing and probably lost.
This is a thoroughly enjoyable disc with excellent sound quality, running
for nearly 70 minutes. I shall be returning to this one often as there is
much here to be enjoyed and both instrumentalists do a splendid job. Full
marks to all concerned.
Jonathan Welsh
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