JOACHIM RAFF : Aus Thüringen (Suite) · Italian Suite (CSSR State Philharmonic (Košice) · Richard Edlinger) (1989) Two Version | FLAC (image+.tracks+.cue), lossless

Raft wrote his Thuringian Suite in 1877, one of those works that a recent commentator has referred to as "Raff's travelogues". The Suite shows the composer's technical command and is not without humour in the light-hearted peasant variations of the fourth movement. It opens with an introductory welcome to a region of Germany of some importance in the history of European music and proceeds through a relatively solemn second movement to a dance of gnomes and sylphs. The folk-song variations allow for oddities of orchestration, followed by a final peasant celebration.

Raff's Italian Suite was written in 1871 and takes a suitably well-crafted romantic German view of the south. A portentous Overture is followed by the gentle sway of a Barcarole, an Intermezzo, a night-piece and a final Neapolitan tarantella that provides a chance for the composer to display his contrapuntal ingenuity. naxos

Joachim Raff (1822-1882)
1-5.     Aus Thüringen
6-10. Italian Suite
Credits :
Orchestra - CSSR State Philharmonic (Košice)
Conductor – Richard Edlinger
Cover – Canaletto

JOACHIM RAFF : Symphony No. 1 "An Das Vaterland" (Rhenish Philharmonic Orchestra · Sam Friedman) (1994) Two Version | FLAC (image+.tracks+.cue), lossless

The Symphony No. 1 in D major, Opus 96, carries the title "An das Vaterland" and opens with an energetic sweep of sound that is a foretaste of Strauss. The first movement develops in more formal terms, with a strongly contrapuntal element in the sequences and thematic references to the Fatherland. The slow movement starts with a strongly felt theme, moving to music that is more gently lyrical in feeling, developed contrapuntally and dramatically, with due reference to material from the preceding movements. The declared drama of the fourth movement leads to an emphatically patriotic statement and in the end to the sombre tread of the final Larghetto sostenuto, that goes on to contrasting moods of patriotism and gentle lyricism before culminating in a spirit of national triumph. In spite of its considerable length and apparent digressions, the symphony is, all in all, remarkably unified in structure, in thematic material and in general intention. naxos

Joachim Raff (1822-1882)
1. Symphony #1 " An Das Vaterland" Op. 96    (1:10:10)
Credits :
Orchestra : Rhenish Philharmonic Orchestra
Conductor – Sam Friedman
Painting [Cover] – Chai Ben-Shan

JOACHIM RAFF : Symphony No. 2, Op. 140 · Overtures : Romeo And Juliet · Macbeth (Slovak State Philharmonic Orchestra (Košice) · Urs Schneider) (1994) Two Version | FLAC (image+.tracks+.cue), lossless

The first of Raff’s eleven numbered symphonies, An das Vaterland, was completed in 1861 and was awarded the Vienna Gesellschaft der Musikfreunde prize. The second, the Symphony in C major, Opus 140, was written in 1869 and is scored for piccolo and double woodwind, four horns, two trumpets, three trombones, timpani and strings. It opens in almost pastoral mood, with a first subject entrusted to clarinets and violas and then by horns, while the first violins add their own embellishments in rapider figuration. This material is developed in a transition that leads to a second subject, heard first in the strings. The central development is followed by a recapitulation and a final coda that allows the principal subject to re-appear in strength.

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

JOACHIM RAFF : Symphony No. 5, "Lenore" · Ein feste Burg ist unser Gott (Slovak State Philharmonic Orchestra (Košice) · Urs Schneider) (1993) Two Version | FLAC (image+.tracks+.cue), lossless

The first of Raff’s eleven numbered symphonies, An das Vaterland, was completed in 1861 and was awarded the Vienna Gesellschaft der Musikfreunde prize. Symphony No. 5 in E major, Op. 177, was completed in 1872 and published the following year. Raff’s division of the work into three Abteilung (sections) does not coincide here with the four movements, two of which form the first section of the symphony, under the title Liebesglück, the happiness of love. The first movement Allegro is in broadly classical form, its exuberant first subject contrasted with the more lyrical second, with suggestions of the tragedy to come. An A flat major Andante quasi larghetto completes the first section. The movement is introduced by the strings, the melody poignantly echoed by the French horn, which then pursues its own operatic theme. A dramatic G sharp minor passage moves into the intense lyricism of a secondary theme, now heard a semitone higher, in E major, before the return of the opening theme, now played by the flutes.

The second part of the symphony has the title Trennung, “Parting”, continuing the implied events that precede those of Bürger’s poem Lenore, on which the symphony is based. The third movement opens as a C major March, with a contrasting minor continuation. This is followed by an F major section, the first violins doubled by the French horns in the march theme. The return of the first march theme leads to an agitated C minor passage in which violins and cellos plead one with the other, before the march again intervenes, disappearing gradually into the distance, as the soldiers march away.

It is the third section of the symphony, the fourth movement Allegro, Wiedervereinigung im Tode, “Reunion in Death”, that is based directly on Bürger’s Kunstballade Lenore in music that follows much of the poetic narrative. Göttfried August Bürger was associated with the group of poets that formed the Göttinger Hainbund and in 1773 wrote his famous poem Lenore, published the following year in the Göttinger Musenalmanach. Based on the Scottish ballad Sweet William’s Ghost, Bürger’s poem tells of the grief of Lenore for her lover Wilhelm, killed in the Seven Years’ War. The girl turns against God in her despair, but at night the sound of a horse is heard outside (“Und außen, horch! ging’s trapp trapp trapp, Ais wie von Roßeshufen”) and Wilhelm calls her down to him. She joins him and the couple ride away together through the night, through the countryside, meeting a funeral procession now bidden to the wedding-feast. The dead ride fast, and the figure before her asks again if she fears the dead, but “Doch lass die Toten”, she replies, “Let the dead be!” On they ride, past the gibbet and through a gate into the graveyard, as dawn approaches, and suddenly the horseman’s uniform drops away, piece by piece, his head becomes a skull, his body a skeleton, with hour-glass and scythe. The poem and the symphony end with the moral, proclaimed by the spirits that had followed the couple, that men must be patient in adversity: “Geduld! Geduld! Wenn’s Herz auch bricht! Mit Gott im Himmel hadre nicht!” (“Patience! Patience! Even if your heart breaks! Do not quarrel with God in Heaven! ”)

Raff’s Overture Ein feste Burg ist unser Gott, Opus 127, was written in 1865 and dedicated to Hans von Bülow. It is described as an overture for a drama of the Thirty Years War. The work opens ominously, its slow introduction, Andante religioso, starting with a soft drum-roll, accompanied by muted double basses, before the contrapuntal entry of the first violins, followed by cellos, second violins and violas in turn. The familiar notes of Martin Luther’s most famous hymn appear first in the woodwind, to be joined by other instruments of the orchestra, before the succeeding Allegro eroico, marked non troppo vivo, ma vigoroso. This faster section, changing from the earlier D major to D minor, with its sharply rhythmic string figure, is punctuated by the loud intervention of the wind instruments, introducing music in tripartite sonata-form, derived from the chorale of the title. A passage for solo cello, accompanied only by sustained viola chords, leads to a final Andante, where the lower strings announce again Luther’s famous melody. The overture ends in victory with a final grandiose and triumphant Allegro. Keith Anderson

Joachim Raff (1822-1882)
1-4.     Symphony No. 5 In E Major, Op. 177 'Lenore' (1872)    (51:22)
5. Ein Feste Burg Ist Unser Gott ('A Mighty Fortress Is Our God') – Overture, Op. 127 (1865) 19:02
Credits :
Orchestra : Slovak State Philharmonic Orchestra, Košice
Conductor – Urs Schneider
Cover Painting - Ferdinand Hodler

JOACHIM RAFF : Symphony No. 6 · Jubel-Overtüre · Festmarsch · Overture To Dame Kobold (Slovak State Philharmonic Orchestra (Košice) · Urs Schneider) (1994) Two Version | FLAC (image+.tracks+.cue), lossless

The fifth of Raff’s numbered symphonies, Lenore, was written in 1872. The next year brought Symphony No. 6 in D minor, Op. 189, a work scored for Raff’s usual orchestra of double woodwind, four horns, two trumpets, three trombones, timpani and strings and sub-titled, portentously, Gelebt, gestrebt, gelitten, gestritten, gestorben, umworben (“Lived, strove, suffered, fought, died, sought after”), although this programmatic suggestion is omitted from the later published score. The opening figure, played pizzicato, introduces an important element in the principal theme, leading through a more lyrical theme, a triplet pattern and a passage treated sequentially in dotted rhythm descending scale figuration to a second subject proper, marked Unpochettino meno mosso. The transitional material all has some place in the development that follows. The strings introduce the B flat major second movement, a simple folk-dance to all appearance, leading to a passage of rapid embroidery from a solo flute, followed by the strings. There is a lyrical E flat section, a Trio. The dance is syncopated by the woodwind and then accompanied by plucked strings. The original key is restored for the slow movement funeral march, introduced by the strings, followed by oboes and horns, joined by the rest of the woodwind. A long-drawn melody appears in the first violins and clarinets, in the key of B flat, and there is a passage of counterpoint, based on a semiquaver subject, through which the rhythm of the march is maintained. The second theme returns in D major, but is replaced by the more solemn mood of the opening, with an air of sinister suspense continued to the end. The last movement opens dramatically, as the strings build up chords of histrionic suggestion, answered by fragments of the important rhythmic figure of the first subject of the opening movement of the symphony. The principal theme of the movement follows, in D major, succeeded by a fine working out of the material here, in a second subject, and in figuration derived from the first movement, all leading to a triumphant conclusion.

Raff’s Jubel-Overtüre may seem somehow familiar to British audiences, based, as it is, on the British national anthem, God save the Queen. Although written shortly after the jubilee of Queen Victoria, it was in fact designed to mark the twenty-fifth year of the reign of Adolf, Duke of Nassau, a reminder that the anthem had been appropriated by a number of German states, among other countries. The melody is treated in a variety of ways, with interesting counterpoint, entrusted at one time to the French horn and at another to piccolo and flute, with a pizzicato accompaniment. Other suitably jubilant material is introduced, with a lyrical theme, before Raff allows himself a fully contrapuntal treatment of the original theme. The lyrical theme reappears in recapitulation before the final coda, which brings the whole anthem into prominence again.

The comic opera Dame Kobold, based by P. Reber on a work by the Spanish playwright Calderón de la Barca, was staged in Weimar in 1870, a year after its completion. The same subject, La dama duende, was later to be used for operas by the conductor-composers Felix Weingartner and Kurt von Wolfurt. Raff’s treatment of the comedy was unkindly described by Liszt as un salmagondis habillement apprêté. The introduction offers a French horn melody, accompanied by plucked strings, answered lyrically by the violins, which take up the theme. The main section of the overture introduces a greater sense of dramatic urgency, while the whole provides a spirited prelude to the comic opera.

Raff’s Festmarsch, Op. 159, displays again his technical skill in orchestration for a relatively conventional complement of instruments. It shows, too, his fluent command of harmonic and melodic idiom, the celebratory element contrasted with more sentimental material that serves as an admirable foil to the principal theme. Keith Anderson

Joachim Raff (1822-1882)
1-4. Symphony No. 6 In D Minor, Op. 189
5. Jubel-Overtüre In C Major, Op. 103    14:32
6. Dame Kobold, Overture, Op. 154    7:33
7. Festmarsch, Op. 159    6:44
Credits :
Orchestra : Slovak State Philharmonic Orchestra, Košice
Conductor – Urs Schneider
Cover painting: “Dents du Midi in Clouds” by Ferdinand Hodler.

JOACHIM RAFF : Symphony No. 7 "In Den Alpen" · Concert Overture, Op. 123 (Slovak State Philharmonic Orchestra (Košice) · Urs Schneider) (1994) Two Version | FLAC (image+.tracks+.cue), lossless

Raff completed his seventh symphony in 1875 and it was first performed in Wiesbaden on 30 December in the same year. The symphony, In the Alps, makes use of themes he had heard in his childhood in Switzerland. The work was not well received in Germany, with critics now tending to condemn perceived defects in his work as a result of “Vielschreiberei”, writing too much. These aspersions on his ability as a composer, apparently because of his fecundity, brought additional doubts and anxieties at a time when he was troubled by the recent death of his mother in Ravensburg.

Symphony No. 7 in B flat major, Opus 201, is scored for full orchestra, pairs of flutes, oboes, clarinets, bassoons and trumpets, four horns, three trombones, timpani and triangle, and strings. It is a descriptive work, evoking the Swiss Alps of Raff’s early years, and the first movement, Wanderung im Hochgebirge, “Wandering in the High Mountains”, starts with impressive grandeur, then turning in its slow introduction to suggestions of the natural beauty of the landscape, as the horns echo each other. The music is dominated by a familiar melody that returns to end the introduction and will be heard again. The principal theme of the Allegro appears first in the bassoon, followed by the flute. A gentler Alpine melody is entrusted to the horn, followed by the oboe, and this and other thematic material is developed with all the craft at Raff’s disposal, with much use of sequence, before the re-appearance of the principal subject in recapitulation, followed by the themes of the second subject group and a fugal treatment of the main theme of the introduction. The second movement, In der Herberge, “In the Inn”, opens in G minor with a gently lilting theme introduced by the strings, joined by bassoons, with a yodelling cello melody in accompaniment, as the music swells into a major key German dance. There is a modulation into C major and a romantic melody introduced by the violas. Clarinets and flutes sport on the slopes in a cheerful E flat, before the return of the G minor theme of the opening, moving forward to a happier triumphant G major before a G minor coda. There follows a slow movement, Am See, “On the Lake”, with a tranquil C major theme given to violas and bassoon, before emerging from the depths with flutes, oboes and horns adding to the picture, to which the timpani add an occasional menacing dimension. The symphony ends with Beim Schwingfest; Abschied, “At the Festival; Departure”. The Schwingfest is a peculiarly Swiss sport for festival days. Here contestants try to throw each other, using the left hand, with the right hand in the belt. The music represents the sport with cheerful lightheartedness. The first theme is followed by a clod-hopping heavy-footed measure from the bass instruments. The dotted rhythms of a fiercer G minor episode usher in contrapuntal treatment of earlier themes, reminiscences even of the opening of the symphony, before a triumphant and very Swiss conclusion to a work that is further testimony to the technical proficiency of Raff and to his creativity as a symphonist.

Raff completed his F major Concert Overture in 1862 and published it with a dedication to Prince Friedrich Wilhelm Constantin zu Hohenzollern-Hechingen in respectful gratitude. At this period Raff was very much in Wagner’s circle at Biebrich, and his sister-in-law, Emilie Genast, gave the first performance of Wagner’s settings of poems by his beloved Mathilde Wesendonck in the year of the Concert Overture. The work is scored for the usual full orchestra and opens, as overtures should, with a strong call to the listener’s attention, followed by a gentler theme, developed before a more energetic section that continues the material of the opening into a lyrical subsidiary theme. The later treatment of the themes includes contrapuntal display, with the whole overture an example of the composer’s assured technique in handling the orchestra and in the creation of a convincing, unified and effective structure from his material. Keith Anderson

Joachim Raff (1822-1882)
1-4. Symphony No. 7 In B Flat Major, Op. 201 "In Den Alpen"
5. Concert Overture In F Major, Op. 123    9:57
Credits :
Orchestra : Slovak State Philharmonic Orchestra, Košice
Conductor – Urs Schneider
Cover [Painting - The Black Monk and the Bernese Alps] – Ferdinand Hodler

JOACHIM RAFF : Symphonies No. 8 "Frühlingsklänge" · No. 9 "Im Sommer" (Slovak State Philharmonic Orchestra (Košice) · Urs Schneider) (1992) Two Version | FLAC (image+.tracks+.cue), lossless

Joachim Raff was remembered by a generation for his famous Cavatina, a composition that hardly does justice to the extent and quality of the music he wrote. Others may recall Raff as a footnote in the life of Liszt, with whom he was briefly associated in Weimar, charged with the orchestration of the master’s first symphonic poems. Raff was the son of an organist and teacher who had left his native Württemberg to avoid conscription into the French army and had settled in Switzerland. He was born at Lachen, near Zürich, in 1882, and was trained as a teacher at the Jesuit College in Schwyz, where he distinguished himself. In 1840 he began to teach at a primary school in Rapperswil, remaining there until 1844. He had already had instruction in music from his father, whom he had also served as a copyist, and had taught himself what he could in the course of his academic studies. Stimulated by the friends he found in Rapperswil, and in particular by Franz Abt, Kapellmeister in Zürich, he turned his attention to composition, dedicating his Opus 7 Rondo brillant to Abt. In 1844 a group of his piano pieces were published, on the recommendation of Mendelssohn, encouragement that proved decisive in his choice of career. Moving to Zürich, he set about earning a living from music, organising ambitious concerts at the resort of Bad Nuolen, but finding increasing difficulty in supporting himself. The following year he went on foot to Basel to attend a concert by Liszt. Arriving there too late to buy a ticket, he was fortunate enough to meet Liszt’s secretary Belloni, who introduced him to his master. Liszt insisted that Raff should be given a place on the concert platform and afterwards invited him to accompany him on his concert tour from Zürich to Strasburg, Bonn and Cologne, securing for him a place in a music shop in this last city. From there Raff moved to Stuttgart, where he met Hans von Bülow and contemplated lessons with Mendelssohn, a plan frustrated by the latter’s death in 1847. With the further help of Liszt he then moved to Hamburg to work as an arranger for a publisher and in 1850 moved again, joining Liszt in Weimar, assisting him in orchestration, copying and arranging music. He remained in Weimar until 1856, growing increasingly impatient with the perceived jealousy of Liszt’s mistress, the Princess Sayn-Wittgenstein, and with the anomaly of his position. It was in Weimar, however, that he met the daughter of the stage-director of the Court Theatre, Eduard Genast, whose daughter Doris became his wife, once he had moved to Wiesbaden. There he established himself as a composer and musician of importance. In 1877 he was appointed director of the Hoch Conservatory in Frankfurt, remaining there until his death in 1882.

Raff completed twelve symphonies, the first of which, an early work, has been lost. He completed his Eighth Symphony, Frühlingsklänge, in 1876, following it in 1878 with his Ninth, Im Sommer. Two further symphonies, Zur Herbstzeit in 1878 and the earlier composed Der Winter, completed in 1876 but published in 1883, make up the four seasons. The musical celebrations of spring and of summer are written in an immediately attractive and approachable style, scored for a relatively modest orchestra of classical rather than Wagnerian dimensions. The Eighth Symphony opens by welcoming the returning spring, following this with the dance of Walpurgisnacht, the night of 1 May, when witches are about. The first blooms of spring lead to a romantic movement of Wanderlust, evoked by the season when the young may wander to their hearts’ content. The Ninth Symphony opens in the heat of summer, proceeding in its second movement to an elvish hunting-party. A pastoral eclogue then leads to a final celebration of the harvest. Keith Anderson

Joachim Raff (1822-1882)
1-4. Symphony No. 8 In A Major "Frühlingsklänge", Op. 205 
5-8. Symphony No. 9 In E Minor, "Im Sommer", Op. 208
Credits :
Orchestra : Slovak State Philharmonic Orchestra, Košice
Conductor – Urs Schneider
Painting [Cover "Blossoming"] – Ferdinand Hodler

JOACHIM RAFF : Symphony No.3 "In The Forest" · Symphony No.10 "In Autumn" (Slovak State Philharmonic Orchestra (Košice) · Urs Schneider) (1990) Two Version | FLAC (image+.tracks+.cue), lossless

The third of Raff’s eleven symphonies, which bears the title Im Walde (“In the Forest”), was written in 1869 and won its composer considerable success. In Wiesbaden, where he had settled after leaving Weimar, he was eventually free of immediate material worries and could devote himself largely to his work as a composer. The Wald-Symphonie was one of the most significant results of this period of his life and was regarded for long as his masterpiece. The work is in four movements, included in three parts. The first part, Am Tage (“By Day”), like the Tenth Symphony, gives impressions and feelings aroused by the forest. The second part, which includes a slow movement and the counterpart of a Scherzo, moves to evening twilight, In der Dämmerung, with Träumerei (“Dreams”) and a following Tanz der Dryaden (“Dance of the Dryads”), in the spirit of Mendelssohn. The third part, Nachts (“At Night”), has a more explicit programme. The stillness of the night is followed by the wild hunt of Teutonic mythology, led by Wotan (“Odin”) and the wintry Frau Holle. Dawn breaks and the symphony ends in triumph.

The tenth of the symphonies, Zur Herbstzeit (“In Autumn”), was written in 1879, after Raff’s removal to Frankfurt and at a time when he was occupied with a number of larger scale works. Following tradition in its structure, the symphony declares its programme in its general title and in the descriptive titles of the movements. It forms one of a final group of symphonies depicting the four seasons of the year, No. 8, Frühlingsklänge (“Sounds of Spring”); No. 9, Im Sommer (“In Summer”), the present work, and his last symphony, No. 11, Der Winter (“Winter”). The first movement of Symphony No. 10 sets the mood, with its evocation of a season of mists and mellow fruitfulness. Phantom drums and double basses introduce the ghostly dance of the second movement, a mysterious waltz dispelled momentarily by a chorale. There follows a sustained elegy for the passing year and a final seasonal hunt, appropriately introduced, but allowing occasional rest from the chase. Keith Anderson

Joachim Raff (1822-1882)
1-4. Symphony #10 in F Minor, Opus 213 "Zur Herbstzeit"
5-8. Symphony #3 In F Major, Opus 153 "Im Walde
Credits :
Orchestra : Slovak State Philharmonic Orchestra, Košice
Conductor – Urs Schneider
Painting – Ferdinand Hodler

JOACHIM RAFF : Symphonies Nos. 4 And 11 "Der Winter" (Slovak State Philharmonic Orchestra (Košice) · Urs Schneider) (1993) Two Version | FLAC (image+.tracks+.cue), lossless

The last of Raff’s symphonies, No. 11 in A minor, Der Winter, was left unfinished at the time of his death, and was later prepared for publication by Max Erdmannsdörfer. The symphony is scored for an orchestra of pairs of flutes, oboes, clarinets and bassoons, with four horns, two trumpets, three trombones, timpani, triangle and strings. The first movement suggests, in accordance with its programmatic title Der erste Schnee, “The First Snow”, the cold of winter, the delight that snow can bring, as well as its harsher aspect, with hints at times of Russian temperatures. A folk-song-like melody opens the A major second movement. The storms of winter intervene, only partly dispelled by the first appearance of the trumpets. The F major slow movement is spent, very properly, at the fireside, as the plucked strings accompany a melody played by the bassoon, soon joined by horn, then oboe and clarinet, as the music swells. The last movement Karneval opens in a firm A major, a call to celebration, followed by a contrapuntal start to the movement proper, the double basses answered by cellos, violas and second violins in turn, before the entry of the woodwind and music that, as it unfolds, brings a lively procession of characters in cheerful celebration. Keith Anderson

Joachim Raff (1822-1882)
1-4. Symphony No. 4 In G Minor, Op. 167
5-8.Symphony No. 11 In A Minor, Op. 214 "Der Winter"
Credits :
Orchestra : Slovak State Philharmonic Orchestra, Košice
Conductor – Urs Schneider
Painting – Ferdinand Hodler

JOACHIM RAFF : Complete Suites for Solo Piano · Volume I (Alexander Zolotarev) (2004) Two Version | FLAC (image+.tracks+.cue), lossless

 Joachim Raff (1822-1882)
1-6.  Suite No. 1 In G Major For Solo Cello, BWV 1007
Arranged By – Joachim Raff
Composed By – Johann Sebastian Bach
7-11. Suite No. 2 In C Major For Piano, Op. 71
12-15. Suite No. 5 In G Minor For Piano, Op. 162

Piano – Alexander Zolotarev 

JOACHIM RAFF : Complete Suites for Solo Piano · Volume II (Alexander Zolotarev) (2004) Two Version | FLAC (image+.tracks+.cue), lossless

Joachim Raff (1822-1882)
1-6. Suite No. 2 In D Major For Solo Cello, BWV 1008
7-12. Suite No. 6 In G Major For Piano, Op. 163
13-18. S    Suite No. 7 In B-Flat Major For Piano, Op. 204

Piano – Alexander Zolotarev 

JOACHIM RAFF : Complete Suites for Solo Piano · Volume III (Alexander Zolotarev) (2004) Two Version | FLAC (image+.tracks+.cue), lossless

Joachim Raff (1822-1882)
1-6.     Suite No. 4 In E-Flat Major For Solo Cello, BWV 1008
Arranged By – Joachim Raff
Composed By – Johann Sebastian Bach
7-12. Suite No. 5 In C Minor For Solo Cello, BWV 1011
Arranged By – Joachim Raff
Composed By – Johann Sebastian Bach
13-17. Suite No. 1 In A Minor For Piano, Op. 69
18-22. Suite No. 3 In E Minor For Piano, Op. 72

Piano – Alexander Zolotarev 

 

JOACHIM RAFF : Complete Suites for Solo Piano · Volume IV (Alexander Zolotarev) (2004) Two Version | FLAC (image+.tracks+.cue), lossless

Joachim Raff (1822-1882)
1-6.     Suite No. 3 In C Major For Solo Cello, BWV 1009
Arranged By – Joachim Raff
Composed By – Johann Sebastian Bach
7-12. Suite No. 6 In G Major For Piano, Op. 163
13-16. Suite No. 4 In D Minor For Piano, Op. 91

Piano – Alexander Zolotarev