The style of Herr Raff is tolerably well known by this time. His works are counted by the hundred, and include no less than nine symphonies the ninth and latest of these being the one selected, for the opening concert of the Crystal Palace. It is the second of a symphonic series intended to illustrate the seasons of the year - the first, "Voice of Spring" having been previously given at these concerts. Herr Raff is generally described as an eclectic composer - a polite way of saying that he has not developed an individual style of his own. Such a style it would indeed be difficult to discover in the present - work. The first allegro, surnamed "A Hot Day," is written in E minor, and introduces a number of different themes in a somewhat episodical manner. One of these assumes the form of a fugato, and of it the composer seems especially proud, for it appears again prominently in the "working out." The reference of this, or, indeed, of any of the other themes - more or less lively in character - to the title of the movement is not as apparent as it might be. "A Hot Day" we should have thought would not have inclined one to the mental exertion of writing, or even listening, to a fugue. To speak seriously, the habit too frequent nowadays of affixing heterogeneous names to commonplace music is likely to throw ridicule on the more legitimate efforts of other composers in the same direction. The second movement (scherzo) purports to illustrate the "Fairy Hunt," and is full of the effects which so many composers have learnt from Mendelssohn's music to "A Midsummer Night's Dream." We have lightly tripping quavers and triples in flutes and violins, distant horn calls, and by way of contrast a sentimental melody for the solo violoncello, intended to represent Oberon the King of the Fairies. Although not very original, the piece as a whole is gracefully conceived and charmingly instrumented. Equally pretty is the Eclogue in larghetto measure which ensues. Its pastoral character is indicated by the prominent introduction of the oboe, the artistic equivalent of the shepherd's pipe, and at first the music is light, almost decorative in character. Subsequently, however, a fine climax of passionate expression is attained. The last movement is a well-written finale of no particular character, surnamed, for some reason or other, "The Harvest Home." The symphony is not likely to add to nor yet to diminish Herr Raff's reputation. It is the work of a highly competent musician. Its execution by Mr. Manns's splendid orchestra was all that could be desired.
