A symphony never before heard at the Crystal Palace by that most prolific of modern composers, Herr Joachim Raff, was the chief feature of last Saturday's concert. The number of Herr Raff's works considerably exceeds 200, including eight symphonies, of which the one performed on Saturday is the third. It is entitled "Im Walde" ("In the Woods"), and purports to depict the mysterious life and whirr of the forest. But the composer is not satisfied with indicating the sounds of nature and the impression produced thereby on the mind. The mythical beings with which popular fancy has peopled the forest have also become subjects of his interpretation. The scherzo is surnamed "Dance of Dryads," and Teutonic mythology is represented by Hulda and Wotan, who, at the head of the "Wild. Hunt" appear in the rapid rhythm of the last movement. Of the uses and abuses to which such more or less arbitrary titles maybe put in music we have frequently spoken. As indication of the composer's ideas while writing, and of the external objects which may have suggested his imaginings, they are interesting and valuable. The danger lies in the possibility of an attempt on the composer's part at slavishly imitating certain sounds in nature and on the hearer's at discovering allusions and associations which were never intended, or, if intended, would be ridiculous. From any such danger the first two movements at least of Herr Raff's symphony ara entirely free. The first division, superscribed "Daylight: Impressions and Feelings," does nothing - and attempts to do nothing - but give graceful and harmonious utterance to the feelings indicated and the repeated notes of the horn, "Waldhorn" as the Germans prettily call it, only serve to add local colour to the charming picture without in the least interfering with the absolute beauty of the music. There is also little harm, although perhaps less advantage, in calling the second movement (largo) "Dreams: Twilight," or in connecting the scherzo with graceful nymphs and fairies dancing and revelling in the dusky shade of the woods. But when in the finale Wotan, with his wild hunt, is heard in all manner of wild and inharmonious noises, we cannot suppress a wish that the composer had left to the eye what is the eye's, instead of entering into competition with the weird apparitions of the "Wolfschlucht" in Der Freischütz. In that case, also, the inordinate length of the movement (136 pages of the score) would no doubt have been avoided. But, in spite of this grave defect we are willing to admit that the "Forest" symphony fully deserves the place of honour universally granted to it among its composer's works.
It is not too much to say that to it Herr Raff's international fame is mainly due. A few words as to the nature and justification of that fame will perhaps be more welcome to the reader than a detailed analysis of the symphony, which has been performed at the Philharmonic Concerts, and is therefore comparatively well known. Raff has by word and deed frequently expressed his adherence 'to the principles of the so-called "advanced" school in music, and devoted disciples of that school as well as undiscriminating outsiders are therefore apt to class him among the great original spirits of the age. His name, indeed, is frequently mentioned in combination and on terms of equality with those of Wagner and Liszt. But this view of the case is wholly erroneous; Whatever may be thought of the innovations of these composers, it cannot be denied that they are distinguishable individualities in art. As to Wagner, his supreme dramatic power is acknowledged by friend and foe. But of Liszt (who, by the way, has much less in common with Wagner than is generally supposed) it may equally be said that for his beauties as well as for his eccentricities he has at least to thank no one but himself. But the reverse is true of Raff. He is essentially an eclectic musician, in the same sense that Gounod and Rubinstein are eclectic musicians. In this very symphony the influence of a number of composers is easily discernable. The "Dance of Dryads" is unmistakably inspired by Mendelssohn, supreme master in the realms of faery, and the theme of the largo, with its characteristic triplet, shows as marked affinity to Wagner's music. Similar affinities might also be discovered in most of' Raff's effects of instrumentation. All this, of course, does not prevent him from being a skilful and highly-gifted musician. But it justifies, and even necessitates, a distinct denial of the claims to a place among creative minds too frequently advanced on his behalf. It remains to be added that the "Forest"' symphony was well rendered and that it met with a favourable reception on the part of the audience.
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