January--March 2022

Raff's Piano Trio No.1 in c minor, Op.102, which appeared in 1864, was very popular for quite a long time. It is unjust that today it has been forgotten.  It deserves a place of honor in the concert repertoire and can be warmly recommended to amateurs as well. The first movement, Rasch, is passionate but also of deep feeling. The working out is especially fine.  A Scherzo which begins with a fugue comes next. The main theme is a nimble melody while the second subject is more lyrical. The third movement, Mäßig langsam, is perhaps the highpoint of the trio. It belongs to those magnificent compositions which are of great inspiration. The music is exudes a lovely sense of calm peacefulness border on bliss. The tonalities are particularly beautiful. The main theme of the finale, Rasch bewegt, is very striking and full of passion, while the lyrical second theme provides excellent contrast and is especially appealing.

Raff's Piano Trio No.2 in G Major, Op.112, which dates from 1863, was destined to take its place, along with his other three piano trios, as among the most often performed during the last half of the 19th century. Highly praised and a staple of the repertoire, like the composer himself, it fell into oblivion after the First World War. The opening movement, marked Rasch, froh bewegt (Quick, happy and animated), is brimming with wonderful ideas and themes. The first subject is warm and yearning. The lovely second theme has an elegaic quality. The short second movement, Sehr rasch (very quick), is a somewhat spooky scherzo. The main theme lopes along but the accompaniment is a whirlwind background. The trio, still lively, has a more lyrical melody which is presented by the strings in echo format. The noble and solemn main theme to the slow movement, Mässig langsam (moderately slow), is introduced by the piano alone. A few variations follow. In the first, the strings embellish and develop the theme the piano has presented. A dramatic highpoint is reach in the tremendous stormy middle section which leads to a powerful ode of affirmation. (our sound-bite presents the theme, the first variation and the middle section.) The exciting finale, Rasch, durchaus belebt (Quick, lively throughout), starts with a bustling theme which quickly rises to a climax and then moves quickly forward. The development is in the form of a fugue. Suddenly, there is a Chinese-sounding interlude in the piano which heralds the return of the main theme.

Piano Trio No.3 in a minor, Op.155 was published in 1872. The opening movement, marked Quasi a capriccio, Allegro agitato, begins in a highly unorthodox fashion, not with an introduction, but with music which appears as if it is beginning in mid-phrase. Suspense is slowly built up and leads to the agitated and passionate main theme. This movement, one of the finest in the romantic literature, is not only highly creative but also full of passion, drama, and lovely, lyrical melodies.  A spooky scherzo, marked Allegro assai, conjuring up images of goblins and ghosts comes next. The third movement, Adagietto, is a solemn theme and a set of several variations. (Our sound-bite presents the theme and the first two variations wherein the strings elaborate on it)  In the superb finale, Larghetto, Allegro, after beginning with a slow, somewhat sad introduction (our sound-bite begins after it), Raff treats us to four magnificent themes, including a brief interlude  a la Turk and a very exciting coda. This work belongs in the repertoire and is the equal to any of the other piano trios from this era.

Piano Trio No.4 in D Major, Op.158 was composed shortly after his Third Piano Trio and actually published the year before it in 1871. The opening Allegro, begins with a sparkling series of 16th notes in the piano while the cello introduces the noble main theme in its lower register. The development and second theme are somewhat lighter in nature. The second movement, marked Allegro assai, is a scherzo. The first theme is a heavy-footed dance, conjuring images of ogres moving about in caves. This is followed by a lovely, lyrical second theme. This is followed by an very impressive slow movement, Andante quasi larghetto. Here, Raff creates the same kind of magical feeling that Mendelssohn achieved in his Songs Without Words. Highly romantic throughout, a "lovers' duet" between the strings is particularly fine. Yet the ending brings an elegiac sense of loss with it. Then a jolt as the finale, Allegro, brusquely dispels the calm, reflective mood of the preceding movement. Restless and driving, the main theme has a very modern feel to it while at the same time having some similarity to a tarantella. Particularly striking are the harsh chords in the piano which repeatedly interrupt an idea or theme without warning, creating a uneasy  feeling of something ominous approaching. It all leads to an exciting conclusion. This is another piano trio which should be revived and brought back into the concert hall.

We highly recommend these works to professionals and amateurs. You can hear soundbites from both piano quartets by clicking on the links above. And all are available from Edition Silvertrust.