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Stories of Symphonic Music / A Guide to the Meaning of Important Symphonies, Overtures, and Tone-poems from Beethoven to the Present Day cover

Stories of Symphonic Music / A Guide to the Meaning of Important Symphonies, Overtures, and Tone-poems from Beethoven to the Present Day

Chapter 97: RAFF
By Lawrence Gilman
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About This Book

The guide offers concise, non-technical explanations of symphonies, overtures, and tone-poems, arranged by composer, that orient concert-goers to the illustrative or poetic intentions behind each work. A preface argues for knowing a composition's programme when it is central to the music; individual entries summarize a work's descriptive basis, thematic outline, and salient orchestral effects without indulging in speculative interpretations. Coverage ranges from Beethoven through late-nineteenth and early-twentieth century composers and selects items likely to appear on contemporary orchestral programs, providing practical background to enhance informed listening.

RAFF

(Joachim Raff: born in Lachen, on the Lake of Zurich, May 27, 1822; died in Frankfort-on-the-Main, June 25, 1882)

SYMPHONY No. 3, "IN THE WOODS": Op. 153

1. In the Daytime

IMPRESSIONS AND SENSATIONS

(Allegro)

2. At Twilight

(a) REVERY

(Largo)

(b) DANCE OF DRYADS

(Allegro assai)
(Poco meno mosso)

3. At Night

SILENT RUSTLING OF THE WOODS AT NIGHT. ENTRANCE AND EXIT OF THE WILD HUNT WITH FRAU HOLLE (HULDA) AND WOTAN. DAYBREAK

(Allegro)

Raff, an astonishingly prolific composer, wrote twelve symphonies,[115] of which "In the Woods" (Im Walde) is one of the two that have most conspicuously survived the winnowing processes of time.

Im Walde was composed at Wiesbaden in 1869. The programmatic bases of its different movements may be indicated as follows:

I. In the Daytime
IMPRESSIONS AND SENSATIONS (Allegro)

"The first movement represents in a general manner the feelings of a lover of nature in the forest on a summer day." The Introduction evokes the spirit of the woods "with the nameless charm of rustling branches and the glintings of sunlight." The mood is developed at length in its musical expression; the close "brings to its end this charming picture of the quiet surprises of the woodland in an autumn day."

II. At Twilight
(a) REVERY (Largo)

"After a short introduction [clarinet and horn]," comments Mr. George P. Upton, "the Largo begins with a beautiful and suggestive melody [strings]—the revery of the dreamer." Later, "the theme returns twice—the first time with heightened pastoral effect, the second time in much the same manner as when originally given out."

(b) DANCE OF DRYADS (Scherzo: Poco meno mosso)

Flutes announce the principal theme. This "is in reality a dance movement—the dance of the Dryads—but before its close the Revery motive of the Largo appears, and thus unifies the movement and completes the picture of the dreamer and his revery intruded upon by the dancing wood-nymphs."

III. At Night
SILENT RUSTLING OF THE WOODS AT NIGHT. ENTRANCE AND EXIT OF THE WILD HUNT WITH FRAU HOLLE AND WOTAN. DAYBREAK (Allegro)

A mysterious pianissimo theme for 'cellos and double-basses paints the darkness and solemnity of the forest night. The spectral approach of the Wild Hunt, [116] Dame Hulda [117] ("Frau Holle") and Wotan following in the train of the unholy crew, is announced by a strongly rhythmed theme in the strings, clarinets, and bassoons. The hunt draws near and passes in a tumultuous increasing and diminishing uproar of the orchestra; the fury of the chase dies away, and there is a sharply contrasted tone-picture of the dawn; a suggestion of the sunrise brings the end.