Psalm 130 De Profundis op.141 1:54
Raff was an experienced choral composer by the time he came to write this extensive work in 1867. He had also at last achieved fame and was eager to reconcile himself with Liszt, with whom he had fallen out after his departure from Weimar. Consequently, he dedicated this impressive piece to his old friend and mentor. Raff set the latin text for eight part mixed choir, soprano soloist and large orchestra. Splitting the psalm into five sections preceded by a short orchestral introduction, the result is a fascinating mix of Raff's various styles - lyric or dramatic romanticism in some of the movements and punctilius counterpoint in others, all culminating in a grand double fugal finale. Throughout the writing is noble and memorable.

The extract is the end of the third section, Quia apud te for soprano and women's voices.

This work is discussed in much more detail in the Works in detail section, with 6 audio extracts.

Oratorio: "World's End-Judgement-New World" in E op.212 1:55
Raff was no stranger to writing large scale choral works when he began composition of his only Oratorio in the late 1870s. The biblical story of the apocalypse uses a text adapted by Raff himself from the Book of Revelation and the 100 minute piece is written for baritone, mezzo-soprano, chorus and orchestra. The baritone narrator St. John tells the story in extensive recitative passages, linked by a series of purely orchestral mini-tone poems and choral passages. The mezzo-soprano's contribution is only a small one.

The section "Pleas and Thanksgivings of the Martyrs" is from the "World's End" part of the work and is mainly given over to the chorus which describes the Christian martyrs praying for the forgiveness of mankind's sins. This excerpt is the end of the first of the two choruses. From LPs produced by Empfingen Town Council.

This work is discussed in much more detail in the Works in detail section, with 10 audio extracts.

Zehn Gesänge für gemischten Chor op.198 2:34
The Ten Songs for Mixed Choir were Raff's only set of secular part songs for SATB choir and were his last set of a capella songs to be published. As with most of his larger collections, the songs have no common theme and were composed over a substantial period of time, in this case between 1860 and 1874, but the set is unusual in having a common author, the Hessen priest/poet Franz Alfred Muth (1839-90). Raff's op.198 was published by Seitz of Leipzig in 1875.

This amateur performance is of an English translation of op.198 No.1 Frühlingsjubel (Spring Cheer), and has an added piano accompaniment.

Sanges-Frühling op.98 1:03
The largest of Raff's collections of songs, and certainly the most well known in his lifetime, was Sanges-Frühling (Songs of Spring). The common theme, sometimes rather a loose link, is that all are about love or the Spring. The texts are by various poets, some of whom are relatively unknown, but well known poems such as Heinrich Heine's Lorelei are also treated to settings of sensitivity and imagination. In all there are 30 songs in the collection and they were composed fitfully between 1855 and 1863.

The example is No.8 Betrogen (Deceived), a setting of Geibel's angry outburst of betrayal.

This work is discussed in much more detail in the Works in detail section, with six audio extracts.

Maria Stuart Lieder op.172 1:24
One of Raff's more successful song collections were the Maria Stuart Lieder op.172. Composed in 1872, when Raff was at the height of his creativity and artistic success, the twelve songs tell the story of Mary, Queen of Scots through German translations by Gisbert, Freiherr von Vincke of her poems, and of those of her associates. As befits the tale, these are generally sad, dark settings, but Raff brings to them a calm serenity and dignity.

The example is the last of three verses of the tenth song, Chidiock Tychbourne's "On the way to the scaffold". From Hungaroton HCD 32256 [review].

This work is discussed in much more detail in the Works in detail section, with four audio extracts.

Eight Songs op.173 1:51
Raff produced both song cycles such as "Maria Stuart"and "Blondel de Nestle" and more varied collections of songs sharing a single opus number like Sanges Frühling and these eight songs of op.173. They were written for voice and piano accompaniment over the three years 1868-70 and are settings of a varied collection of three poems by Thomas Moore and five German poets - including Raff's favourite, Giebel. They were published in two editions in Raff's lifetime.

This example is the first half of No.8 "Sie still" ("Be still") - a setting of Nordheim's maudlin poem of comfort to the bereaved. It is in E flat major and marked Larghetto con motto. This historic performance is by the contralto Ernestine Schumann-Hienk and was recorded in 1906. Raff's piano accompaniment has been arranged for orchestra. From Delos DE 5503.

Song Cycle: Blondel de Nesle op.211 1:30
One of Raff's last compositions, and his last lieder work, is this cycle of 11 poems set for baritone and piano and composed at the beginning of 1880 - they were published in December that year by Breitkopf and Härtel. The poems themselves, unusually printed in the score in English as well as German, were by Helge Heldt - a nom de plume of Raff's 14 year old daughter Helene. They tell the tale of the eponymous medieval troubadour and rescuer of England's crusading King Richard the Lionheart.

The example is from the start of song No.5 "Unter den Palmen" ("Beneath the palms") in which suitably balmy piano figurations underscore a beguilingly rhapsodic vocal line. From EMI 7243 5 67349-2.

Ständchen in A flat major WoO.22 2:23
This "Serenade" based on a poem by Sternau was once a particular parlour favourite and the reason is easy to hear. The mawkish text is set to a suitably sentimental melody which is nonetheless instantly memorable. The piece, which Raff directed should be played "simply and deeply", was written in 1859 and published in a collection of songs by various composers two years later.

This syrupy historic performance by the renowned tenor John McCormack dates from 1916 and is in an arrangement for violin and piano accompaniment by Rosier. From Pearl GEMM CD 9315.