Senor Sarasate's solo was to have been a fantasia, by himself, on Spanish National melodies,, which - the composer's nationality borne in mind - would have been interesting to everyone; but at the lest moment three pieces from a suite with orchestral accompaniments, by Herr Raff, were substituted. The first of these was an allegro "prestissimo," according to the player's reading of it, the last a moto continuo, still more "prestissimo," if such were possible - after the manner of, but inferior in matter, to the famous "moto continuo" of Paganini. The middle movement, a dance air with variations, separates the first number from the last. In the two quick movements the rapidity of the Spanish violinist's execution had ample opportunity for display, and he availed himself of the chance with unrestrained impetuosity. A fresh proof of what can be accomplished by music written with no other purpose than to show off the dexterous manipulation of a virtuoso was thus afforded - and nothing more than this can be detected in the suite of Herr Joachim Raff, whose quickly improvised works might already fill a library. The performer, nevertheless, was honoured by another and well-merited demonstration of applause. On returning to the platform at the vehemently expressed desire of the audience.

The Times, 15 October 1877 p.11
Reproduced by kind permission of Times Newspapers

The Times, 18 October 1880 p.11
Reproduced by kind permission of Times Newspapers

 
A specimen of [the modern] symphony in its most recent development was supplied in the second part of the concert by the late Joachim Raff's "Im Walde," by some considered his masterpiece in this class of composition. Raff, in this case, had adopted a compromise between the "absolute" principle of the classical masters and the so-called "poeticidea" introduced into music by the later works of Beethoven. In the matter of form, Raff's symphony does not contain any startling innovations; at the same time, the titles which are affixed to the movements show that the composer had in his mind a distinct scheme or "programme," which his music was in the first instance intended to illustrate. The subject here selected does not call for the dramatic force and weird colouring of the same composer's "Leonora" symphony, but there is much that is fanciful and truly poetic in this work, which, moreover, in every bar betrays the excellent musician. Had he concentrated his power on a few works of supreme merit instead of dividing it over a vast quantity of miscellaneous productions, his position in music would be a higher and a more permanent one than under circumstances it is likely to be.

The Times, 5 March 1883 p.4
Reproduced by kind permission of Times Newspapers

The Times, 3 January 1884 p.6
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The fifth concert of the Philharmonic Society, given on Wednesday evening, was attended by a very large audience. The programme containing no novelty of importance, it may be assumed that the chief attraction was the appearance of Dr. Hans von Bülow as the pianist of the concert. This remarkable artist has never been heard to greater advantage than during the present season, and his second recital, given on Tuesday afternoon, was even a more astonishing feat of energy and technical mastery than had been the first, an account of which appeared in The Times. The principal piece selected by him for the Philharmonic Concert was Raff's pianoforte concerto in C minor, op.186, written in 1873, and played in the same year, while still in manuscript, by Dr. von Bülow (to whom it is dedicated) at a concert of the late Wagner Society. Like most of Raff's compositions, it is less remarkable for the original invention of its themes than for the scholarly and artistic manner in which those themes are treated. The most interesting of the three movements is the first, in which a continuous flow of melody is sustained from first to last, the contrapuntal workmanship being at the same time of great ingenuity. In spite of his leanings towards the modern school, Raff always was full of reverence for the established forms of absolute music, and in his later works especially the strict rules of counterpoint find a remarkable exemplification. The chief subject of the slow movement, andante quasi larghetto, is sufficiently suave and melodious, without, however, showing that spontaneity of invention which pertains to the efforts of genius proper, and the finale betrays a considerable falling off of intellectual strength, although the pianoforte part is in this, as, indeed, in the other movements, of great brilliancy. Regarding a work specially written for and played by Dr. von Bülow, it amounts almost to a truism to add that the highest technical proficiency is expected from, and was on Wednesday evening evinced by, the interpreter, who received the warm applause of the audience in return for his performance. No small share in the general excellence of that performance belonged to the orchestral accompaniments, which were given with a delicacy and precision reflecting the highest credit alike on the instrumentalists and on Mr. F. H. Cowen, the honorary conductor of the concert.

The Times, 10 May 1884 p.6
Reproduced by kind permission of Times Newspapers

The Times, 2 April 1898 p.14
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A large audience attended the concert given at Queen's Hall, on Thursday night, when Mr. Joseph Ivimey conducted the orchestra.... The principal work for orchestra alone was the first three movements of Raff's "Leonore" symphony, which was chosen probably because nowadays it is not often heard. The committee would have done well to consider the cause of this, for the fact is that it is almost without a single event of interest. It had been carefully prepared, however, and was played as well as could be expected... The concert ended with Stanford's overture to Shamus O'Brien, a work which, unlike Raff's symphony, might be given more often in concert rooms with advantage.

The Times, 12 December 1908 p.13
Reproduced by kind permission of Times Newspapers