Symphony No.4 in G minor - Joachim Raff

Bamberg Symphony Orchestra conducted by Hans Stadlmair.

I - Allegro: 0:00
II - Scherzo. Allegro molto: 10:15
III - Andante, non troppo mosso: 15:00
IV - Allegro - Vivace - Più mosso - Un poco più mosso - Ancora più mosso: 24:49

Raff's Symphony No.4 was composed between spring and summer of 1871, right after the end of the Franco-Prussian war and the unification of Germany. It was successfully premiered on February 8 of 1872, performed by Royal Court Orchestra in Wiesbaden conducted by Wilhelm Jahns. It was quickly followed by other performances through the country.

Raff, whose ambitious first symphony already expressed this desired unification, saw his dream realized by the time of the fourth, which along with the second, are the only ones without a programme or descriptive titles. However, with the time, the work became little known, being flanked by the much more popular Symphonies No.3 "In the Forest" and No.4 "Lenore".

The first movement is structured in a modified sonata form. It opens with a solemn main theme introduced by cellos, gradually gaining in confidence and power. A lighter and playful second theme is presented by the woods, offering contrast. Follows a development section that transforms the materials through counterpoint, culminating in a stormy climax dominated by the brass. The recapitulation brings back the main themes in a varied manner, being followed by a brief new development and culminating in a grand climax. A powerful coda ends the movement.

The second movement is a short scherzo in ternary form. A lively rhythmic main theme is presented with fast figurations of strings and woodwinds, very in the style of Mendelssohn. According to Raff's daughter Helene, it represents her as a child running through the house of their fathers. The trio begins with a lyrical second theme presented by the wood over the fast figurations of strings. The scherzo is then quickly resumed, leading us to a vigorous coda.

The third movement is structured as a theme and variations. It begins with a solemn main theme introduced by strings, fully exposed by bassoon. The first variation is widely lyrical, with the prominence of the clarinet. The second is more passionate and opulent, with the theme on woodwinds. The third is more stormy and Beethovenian, followed by a more placid passage. The fourth variation is heavily contrapuntal, culminating in a majestic climax. The fifth variation is more melodic, offering adequate contrast. The sixth variation is warmer and more placid, with the presence of oboe. The main theme is briefly remembered, leading us to a low-key coda.

The fourth movement is written as a modified sonata form.The main theme of the first theme briefly reappears on cellos, followed by the exposition of a folkloric and rhythmic main theme on the wood, in form of a popular dance. After being briefly developed, a more melodic and pastoral second theme appears, derived from the main one. The development section is lively and without any hint of drama nor dissonance, featuring great use of counterpoint as well. The recapitulation brings back the themes in a varied manner, quickly leading us toa bright and cheerful coda.

Picture: "The Abduction of Ganymede" (1886) by the French painter Gustave Moreau.

Musical analysis mostly written by myself. Source: https://bit.ly/3G70mij

To check the score: https://bit.ly/3VFifKO

Видео Symphony No.4 in G minor - Joachim Raff канала Sergio Cánovas