The slow movement, in E flat major, starts with a deeply felt principal theme, a hymn heard from first violins and horns, before being handed to a solo oboe. A secondary theme is followed by a contrapuntal central section, based on minor key material that bears a strong resemblance to the Kyrie of Mozart’s Requiem. The secondary theme serves as a transition to the returning principal theme, leading to a dynamic climax and a whispered conclusion. The G minor Scherzo carries more weight than Mendelssohn, although Raff’s melodic and harmonic style sometimes suggests his example. The texture is lightened for the Trio, where attention is on the woodwind, followed by a more overtly romantic A flat major passage and a transition that allows the return of the Scherzo once more. The last movement opens in grandiose style, its slow introduction serving as a harmonic bridge to the following Allegro con spirito, a demonstration, if any were needed, of Raff’s technical proficiency and a convincing conclusion to the whole work.
In 1879 Raff composed four Shakespearean overtures. The third of these, Romeo and Juliet, suggests elements of the tragedy, the feud between Montagues and Capulets, the ill-starred lovers, and a final resolution of the conflict, more appropriate musically than dramatically. The Macbeth overture has suggestions of the witches, fresh from a Berlioz sabbath, and curiously eerie passages of chromaticism, contrapuntally treated, while a more positive element seems to suggest Malcolm and the forces of good, finally ushered in by side-drum and trumpets, set against the tyrant and usurper of the title and ensuring his final defeat. These two overtures were first revised and edited for publication by Raff’s distinguished American pupil Edward MacDowell. Keith Anderson
Joachim Raff (1822-1882)
1-4. Symphony No. 2 In C Major, Op. 140
5. Overture: Romeo And Juliet 8:20
6. Overture: Macbeth 11:28
Credits :
Orchestra : Slovak State Philharmonic Orchestra, Košice
Conductor – Urs Schneider
Painting [Cover "Autumn Evening"] – Ferdinand Hodler

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