# A Dictionary of Music and Musicians/Raff, Joseph

From volume 3 of the work.
​RAFF, JOSEPH JOACHIM, born May 27, 1822, at Lachen on the Lake of Zurich. He received his early education at Wiesenstetten in Würtemberg, in the home of his parents, and then at the Jesuit Lyceum of Schwyz, where he carried off the first prizes in German, Latin, and mathematics. Want of means compelled him to give up his classical studies, and become a schoolmaster, but he stuck to music, and though unable to afford a teacher, made such progress not only with the piano and the violin, but also in composition, that Mendelssohn, to whom he sent some MSS., gave him in 1843 a recommendation to Breitkopf & Härtel. This introduction seems to have led to his appearing before the public, and to the first drops of that flood of compositions of all sorts and dimensions which since 1844 he has poured forth in an almost unintermitting stream. Of Opus 1 we have found no critical record; but op. 2 is kindly noticed by the N. Zeitschrift (Schumann's paper) for Aug. 5, 1844, the reviewer finding in it 'something which points to a future for the composer.' Encouraging notices of ops. 2 to 6 inclusive are also given in the A. M. Zeitung for the 21st of the same month. Amidst privations which would have daunted any one of less determination he worked steadily on, and at length having fallen in with Liszt, was treated by him with the kindness which has always marked his intercourse with rising or struggling talent, and was taken by him on a concert-tour. Meeting Mendelssohn for the first time at Cologne in 1846, and being afterwards invited by him to become his pupil at Leipzig he left Liszt for that purpose. Before he could carry this project into effect, however, Mendelssohn died, and Raff remained at Cologne, occupying himself inter alia in writing critiques for Dehn's Cäcilia. Later he published 'Die Wagnerfrage,' a pamphlet which excited considerable attention. Lizst's endeavours to secure him a patron in Vienna in the person of Mechetti the publisher, were frustrated by Mechetti's death while Raff was actually on the way to see him. Undismayed by these repeated obstacles he devoted himself to a severe course of study, partly at home and partly at Stuttgart, with the view to remedy the deficiencies of his early training. At Stuttgart he made the acquaintance of Bülow, who became deeply interested in him, and did him a great service by taking up his new Concertstück, for PF. and orchestra, and playing it in public.
By degrees Raff attached himself more and more closely to the new German school, and in 1850 went to Weimar to be near Liszt, who had at that time abandoned his career as a virtuoso and was settled there. Here he remodelled an opera 'König Alfred,' which he had composed in Stuttgart three years before, and it was produced at the Court Theatre, where it is still often performed. It has also been given elsewhere. Other works followed—a collection of PF. pieces called 'Frühlingsboten' in 1852, the first string quartet in 1855, and the first grand sonata for PF. and violin (E minor) in 1857. In the meantime he had engaged himself to Doris Genast, daughter of the well known actor and manager, and herself on the stage; and in 1856 he followed her to Wiesbaden, where he was soon in great request as a pianoforte teacher. In 1858 he composed his second violin-sonata, and the incidental music for 'Bernhard von Weimar,' a drama by Wilhelm Genast, the overture to which speedily became a favourite, and was much played throughout Germany. In 1859 he married. In 1863 his first symphony 'An das Vaterland' obtained the prize offered by the Gesellschaft der Musikfreunde in Vienna (out of 32 competitors), and was followed by the 2nd (in C) and the 3rd (in F, 'Im Walde') in 1869, the 4th (in G minor) in 1871, the 5th ('Lenore') in 1872, the 6th ('Gelebt, gestrebt, gelitten, gestritten, gestorben, umworben') in 1876, and the 7th ('Alpensinfonie') in 1877, the 8th ('Frühlingsklänge') in 1878, and the 9th 'Im Sommerzeit' in 1880. A 10th ('Zur Herbstzeit') was lately played at Wiesbaden. In 1870 his comic opera 'Dame Kobold' was produced at Weimar. A serious opera in 5 acts entitled 'Samson,' for which he himself wrote the libretto, has not yet been performed in public. Two cantatas, 'Wachet auf' and another written for the Festival in commemoration of the battle of Leipzig, were his first works for men's voices, and are popular with the choral societies. His arrangement of Bach's 6 violin sonatas for PF. is a work of great merit.
Detailed analyses of the first six of these Symphonies will be found in the 'Monthly Musical Record' for 1875, and from these a very good idea of the composer's style may be gathered. Remembering his struggles and hard life it is only a matter for wonder that he should have striven so earnestly and so long in a path that was not his natural walk. A glance at the nearly complete list of his works at the foot of this notice will explain our meaning. The enormous mass of 'drawing-room music' tells its own tale. Raff had to live, and having by nature a remarkable gift of melody and perhaps not much artistic refinement, he wrote what would pay. But on looking at his works in the higher branch of music—his symphonies, concertos, and chamber music one cannot but be struck by the conscientious striving towards a very high ideal. In the whole of his nine published Symphonies the slow movements, without a single exception, are of extreme melodic beauty, although weak from a symphonic point of view: the first movements are invariably worked out with surprising technical skill, the subjects appearing frequently in double counterpoint and in every kind of canon. And however modern and common his themes may appear, they have often been built up with the greatest care, note by note, to this end; showing that he does not, as is often said, put down the first thing that comes into his mind. ​Observe the following treatment of the first subject in his 1st Symphony 'An das Vaterland':
a canon in augmentation and double augmentation. Such instances as this are numerous, and art with which these contrapuntal devices made to appear spontaneous is consummate. In the Pianoforte Concerto in C minor (op. 185), in each movement all the subjects are in double counterpoint with one another, yet this is one of Raff's freshest and most melodious works. To return to the Symphonies: the Scherzos are, as a rule, weak, and the Finales without exception boisterous and indeed vulgar. Writing here, as ever, for an uneducated public, Raff has forgotten that for a symphony to descend from a high tone is for it to be unworthy of the name.
A remarkable set of 30 Songs (Sanges-Frühling, op. 98) deserves notice for its wealth of fine melodies, some of which have become national property ('Kein Sorg um den Weg'; 'Schön' Else,' etc.); and among his pianoforte music is a set of 20 Variations on an original theme (op. 179) which displays an astonishing fertility of resource, the theme—of an almost impossible rhythm of 5 and 7 quavers in the bar—being built up into canons and scherzos of great variety and elegance.
Raff's Pianoforte Concerto is very popular, and his Suite for Violin and Orchestra (op. 180) only little less so. His versatility need not be jed upon. In all the forms of musical composition he has shown the same brilliant qualities and the same regretable shortcomings. His gift of melody, his technical skill, his inexhaustible fertility, and above all his power of never repeating himself—all these are beyond praise. But his very fertility is a misfortune, since it renders him careless in the choice of his subjects; writing 'pot-boilers' has injured the development of a delicate feeling for what is lofty and refined: in short, he stands far before all second-rate composers, yet the conscientious critic hesitates to allow him a place in the front rank of all.
Even those who have least sympathy with Raff's views on art must admire the energy and spirit with which he has worked his way upwards in spite of every obstacle poverty could throw in his way. He is a member of several societies, and has received various orders. In 1877 he was appointed with much éclat director of the Hochconservatoire at Frankfort, a post he still retains. [App. p.766 "add that he died in the night of June 24–25, 1882."]
[ F. G. ]
Catalogue of Raff's works :
| Op. | 1. | Serenade. PF. solo. Andre. |
| | 2. | Trois pièces caracteristiques. PF. solo. B. & H. |
| | 3. | Scherzo (C minor). PF.solo, B.& H. |
| | 4. | Morceau de Salon … sur 'Maria de Rudenz.' PF. solo. B. & H. |
| | 5. | 4 Galops. PF. solo. B. & H. |
| | 6. | Morceau inst. Fantaisio et Varns. PF. solo. B. & H. |
| | 7. | Rondeau sur 'Io son ricco.' PF. solo. B. & H. |
| | 8. | 12 Romances en form d'Etudes; en 2 Cahiers. PF. solo. B. & H. |
| | 9. | Impromptu brlllant. PF. solo. B. & H. |
| | 10. | Hommage au Néoromantisme, Grand Caprice. PF. solo. B. & H. |
| | 11. | Air suisse, transcrit. PF. solo. B. & H. |
| | 12. | Morceau de Salon. Fant. gracieuse. PF. solo. B. & H. |
| | 13. | Valse. Rondino sur 'les Huguenots.' PF. duet. B. & H. |
| | 14. | Sonata & Fugue (E♭ minor). PF. solo. B. & H. |
| | 15. | 6 Poèmes. PF. solo. Schott. |
| | 16. | Rondeau on Saloman's 'Diamantkreuz.' PF. |
| | 17. | Album Lyrique. PF. solo. Schuberth (4 books containing 9 pieces). |
| | 18. | Paraphrases (2). PF. solo. Eck. |
| | 19. | Fantaisie dramatique. PF. solo. Litolff. |
| | 20. | 2 Morceaux de Salon. Serenade italienne; Air Rheuan. PF. solo. Litolff. |
| | 21. | Loreley, Dichtung ohne Worte. PF. solo. Spina. |
| | 22. | 2 Rhapsodies élégiaques. PF. solo. Spina. |
| | 23. | 3 Pièces caracteristiques. PF. solo. Kistner. |
| | 24. | Valse mélancolique. PF. solo. Spina. |
| | 25. | Romance-étude. PF. solo. Spina. |
| | 26. | Den Manen Scarlattis. Scherzo. PF. solo. Spina. |
| | 27. | Augelens letzter Tag im Kloster. Ein Cyclus etc. (12 pieces in 2 books). PF. solo. Kistner. |
| | 28. |
| | 29. |
| | 30. |
| | 31. | 6 Liederübertragen. PF. solo. Ebner. |
| | 32. | Am Rhein. Romanze. PF. solo. Spina. |
| | 33. |
| | 34. |
| | 35. | Capriccietto (on motifs from 'Freischütz'). PF. solo. Schuberth. |
| | 36. | Fantaisie Militaire (on motifs from 'Huguenots'). PF. solo. Schuberth. |
| | 37. | Mélange (on motifs from 'Sonnambula'). PF. solo. Schuberth. |
| | 38. | Grand Mazourka. PF. solo. Stoll. |
| | 39. | Nocturne (on romance by Liszt). PF. solo. Kistner. |
| | 40. | Capriccietto à la Bohémienne. PF. solo. Kistner. |
| | 41. | Romance. PF. solo. Kistner. |
| | 42. | 'Le Pretendant' … de Kücken (3 Nos.). PF. solo. Kistner. |
| | 43. | Divertissement sur 'La Juive.' PF. solo. Schuberth. |
| | 44. | Fantasina sur 'Le Barbier de Seville.' PF. solo. Schuberth. |
| | 45. | Souvenir de 'Don Giovanni.' PF. solo. Schuberth. |
| | 46. | 'La dernière Rose'—(The last rose of summer). Impromptu. PF. solo. Cranz. |
| | 47. | 3 Lieder (by J. G. Fischer) for Bar. or Alto and PF. Senff. |
| | 48. | 2 Lieder for Voice and PF. Senff. |
| | 49. | 3 Lieder (by J. G. Fischer) for Voice and PF. Heinrichshofen. |
| | 50. | 2 Italienische Lieder (by Sternau) for Voice and PF. Heinrichshofen. |
| | 51. | 5 Lieder for Voice and PF. Kistner. |
| | 52. | 3 Lieder for Voice and PF. Schlesinger. |
| | 53. | 2 Lieder vom Rhein for Voice and PF. Schloss. |
| | 54. | Tanz-capricen (4). PF. solo. Bahn. |
| | 55. | Frühlingsboten—12 short pieces for PF. solo. Schubert. |
| | 56. | 3 Salon Stücke. PF. solo. Bachmann. |
| | 57. | 'Aus der Schweiz.' Fantastische Egloge. Bachmann. |
| | 58. | 2 Nocturnes. PF. and Violin. Schuberth. |
| | 59. | Duo in A, PF. and Cello. Nagel. |
| | 60. | Schweizerweisen (9 Nos.). PF. solo. Schuberth. ​ |
| | 61. | No. 1. Wagner's 'Lohengrin,' Lyrische Fragmente. PF. solo.—No. 2. Do. 'Tannhäuser,' Fantasie. PF. solo. No. 3. Do. 'Fliegende Holländer," Reminiscenzen. PF. solo.—No. 4. Schumann's 'Genoveva.' PF. solo. Schuberth. |
| | 62. | Salon-Etuden from Wagner's operas. PF. solo. Schlesinger. No. 1. Andante from 'Fliegende Hollander.'—No. 2. Sestet from 'Tannhäuser.'—No.3. Lohengrin's farewell. |
| | 63. | Duos on motifs from Wagner's operas. PF. and V. Siegel. No. 1. 'Fliegende Holländer.'—No.2. 'Tannhäuser.'—No. 3. 'Lohengrin.' |
| | 64. | Capriccio In F minor. PF. solo. Leuckart. |
| | 65. | No. 1. Fantaisie on motifs from Berlioz's 'Benvenuto Cellini.' PF. solo.—No. 2. Caprice on motifs from Raff 's 'Alfred.' PF. solo. Schuberth. |
| | 66. | 'Traum-König und sein Lieb' (Geibel). Voice and PF. Schott. |
| | 67. | 'La Fête d'Amour' Morceau caracteristique pour Violin de Concert avec PF. Schott. |
| | 68. | 5 Transcriptions (Beethoven, Gluck, Mozart, Schumann, Spohr). PF. solo. Peters. |
| | 69. | Suite. PF. solo. Körner. |
| | 70. | 2 Paraphrases de Salon (Trovatore, Traviata). PF. solo. Peters. |
| | 71. | Suite in C. PF. solo. Kühn. |
| | 72. | Suite in E minor. PF. solo. Kühn. |
| | 73. | 1st Grand Sonata. PF. and V. (E minor). Schuberth. |
| | 74. | 3 Clavier solos (Ballade, Scherzo, Metamorphosen). PF. Schuberth. |
| | 75. | Suite de (12) Morceaux pour les petites mains. PF. solo. Kistner. |
| | 76. | Ode au Printemps. Morceau de Concert. PF. and Orch. Schott. |
| | 77. | Quatuor (No. 1) in D minor, for Strings. Schuberth. |
| | 78. | 2nd Grand Sonata for PF. and V. (in A). Schuberth. |
| | 79. | Cachoucha, Caprice. PF. solo. Peters. |
| | 80. | 'Wachet auf' (Geibel). Men's voices, Solo Chorus, and Orchestra. Schott. |
| | 81. | No. 1. Sicilienne de l'Opera des 'Vêpres Siciliennes.'—No. 2. Tarantelle de ditto. PF.solo. Peters. |
| | 82. | Suite de (12) Morceaux pour les petites mains. PF. duets. Schuberth. |
| | 83. | Mazourka-Caprice. PF. solo. Schott. |
| | 84. | 'Chant de l'Ondin,' Grande Etude de l'Arpeggio tremolando. PF. solo. Peters. |
| | 85. | 6 Morceaux. PF. and V. Kistner. |
| | 86. | 2 Fantaisiestücke. PF. and Cello. R. B. |
| | 87. | Introduction and Allo scherzoso. PF. solo. R. B. |
| | 88. | 'Am Giessbach,' Etude. PF. solo. R. B. |
| | 89. | Vilanella. PF. solo. R. B. |
| | 90. | Quartet, No. 2, in A, for Strings. Schuberth. |
| | 91. | Suite in D. PF. solo. Peters. |
| | 92. | Capriccio in D minor. PF. solo. Peters. |
| | 93. | 'Dans la nacelle,' Réverie Barcarolle. PF. solo. Peters. |
| | 94. | Impromptu Valse. PF. solo. Peters. |
| | 95. | 'La Polka de la Reine,' Caprice. PF. solo. Peters. |
| | 96. | 'An das Vaterland.' Prize Symphony (No. 1). Schubert. |
| | 97. | 10 Lieder for Male Voices. Kahnt. |
| | 98. | 'Sanges-Frühling.' 30 Romanzen, Lieder, Balladen, and Gesänge, for Sopr. and PF. Schuberth. |
| | 99. | 3 Sonatilles (A minor; G; C). PF. solo. Schuberth. |
| | 100. | 'Deutschlands Auferstehung.' Fest Cantate on the 50th anniversary of the Battle of Leipzig, for Male Voices and Orch. Kahnt. |
| | 101. | Suite for Orchestra. Schott. |
| | 102. | 1st Grand Trio, for PF., V. and Cello. Schuberth. |
| | 103. | Jubilee Overture, for Orchestra. Kahnt. |
| | 104. | 'Le Galop,' Caprice. PF. solo. Peters. |
| | 105. | 5 Eglogues. PF. solo. Peters. |
| | 106. | Fantaisie-Polonaise. PF. solo. Peters. |
| | 107. | Grand Quintuor (A minor). PF., 2 VV. Viola and Cello. Schuberth. |
| | 108. | Saltarello. PF. solo. R. B. |
| | 109. | Réverie-Nocturne. PF. solo. R. B. |
| | 110. | 'La Gitana,' Danse Espagn. Caprice. PF.solo. R. B. |
| | 111. | Boleros and Valse, 2 Caprices. PF. solo. Schuberth. |
| | 112. | 2nd Grand Trio (in G). PF. V. and Cello. R. B. |
| | 113. | Ungarische Rhapsodie. PF. solo. Forberg. |
| | 114. | 12 Songs for 2 Voices and PF. Forberg. |
| | 115. | 2 Morceaux lyriques. PF. solo. Forberg. |
| | 116. | Valse Caprice. PF. solo. Forberg. |
| | 117. | Festival Overture (in A), for Orchestra. Kistner. |
| | 118. | Valse favorite. PF. solo. Kistner. |
| | 119. | Fantasie. PF. solo. Kistner. |
| | 120. |
| | 121. | Illustrations de 'L'Africaine' (4 Nos.). PF. solo. B. B. |
| | 122. | 10 Songs for Men's Voices. Kahnt. |
| | 123. | Concert-Overture (in F). Siegel. |
| | 124. | Festival-Overture on 4 favourite Student-songs, for the 50th anniversary of the 'Deutschen Burschenschaft.' PF. 4 hands. Praeger. |
| | 125. | Gavotte; Berceuse; Espiègle; Valse. PF. solo. Siegel. |
| | 126. | 3 Clavierstücke—Menuet, Romance, Capriccietto. PF. solo. Praeger. |
| | 127. | 'Ein' feste Burg,' overture to a drama on the 90-years' war. Orchestra. Hofmeister. |
| | 128. | 3rd Grand Sonata. PF. and V. (in D). Schuberth. |
| | 129. | 4th Grand Sonata. PF. and V. 'Chrom. Sonate in einem Satze.' (G minor). Schuberth. |
| | 130. | 2 Etudes mélodiques. PF. solo. Schuberth. |
| | 131. | Styrienne. PF. solo. Hofmeister. |
| | 132. | Marche brillante. PF. solo. Hofmeister. |
| | 133. | Elégie. PF. solo. Hofmeister. |
| | 134. | 'Vom Rhein,' 6 Fantasiestücke. PF. solo. Kistner. |
| | 135. | 'Blätter und Blüthen,' 12 pieces for PF. solo. Kahnt. |
| | 136. | 3rd String quartet (E minor) Schuberth. |
| | 137. | 4th String quartet (A minor). Schuberth. |
| | 138. | 5th String quartet (G). Schuberth. |
| | 139. | Festmarsch. PF. solo. Schott. |
| | 140. | 2nd Symphony (in C) for Orchestra. Schott. |
| | 141. | Psalm 130 ('De Profundis') 8 voices and Orch. Schuberth. |
| | 142. | Fantaisie (F♯). PF. solo. Kistner. |
| | 143. | Barcarolle (E♭). PF. solo. Kistner. |
| | 144. | Tarantella (C). PF. solo. Kistner. |
| | 145. | 5th Grand Sonata. PF. and V. (C minor). Schuberth. |
| | 146. | Capriccio (B♭ minor). PF. solo. R. B. |
| | 147. | 2 Meditations. PF. solo. R. B. |
| | 148. | Scherzo in E♭. PF. solo. R. B. |
| | 149. | 2 Elegies for PF. solo. R. B. |
| | 150. | Chaconne (A minor). 2 PFs. R. B. |
| | 151. | Allegro agitato. PF. solo. R. B. |
| | 152. | 2 Romances. PF. solo. R. B. |
| | 153. | 3rd Symphony 'Im Walde' (F). Orchestra. Kistner. |
| | 154. | 'Dame Kobold,' Comic opera. B. B. |
| | 155. | 3rd Grand Trio. PF. V. and Cello. B. B. |
| | 156. | Valse brillante (E♭). PF. solo. Ries. |
| | 157. | Cavatine (A♭) and Etude 'La Fileuse.' PF. solo. Seitz. |
| | 158. | 4th Grand Trio (D). PF. V. and Cello. Seitz. |
| | 159. | 1st Humoreske (D) in Waltz form. PF. duet. B. B. |
| | 160. | Reisebilder (10 Nos.). PF. duet. Siegel. |
| | 161. | Concerto for Violin & Orch. (B minor). Siegel. |
| | 162. | Suite in G minor. PF. solo. Challier. |
| | 163. | Suite in G major. PF. solo. Seitz. |
| | 164. | Sicilienne, Romanze, Tarantelle. PF. solo. B. B. |
| | 165. | 'La Cicerenella, Nouveau Carnaval.' PF. solo. Siegel. |
| | 166. | Idylle; Valse champêtre. PF. solo. Seitz. |
| | 167. | 4th Symphony (G minor). Orchestra. Schuberth. |
| | 168. | Fantaisie-Sonate (D minor). PF. solo. Siegel. |
| | 169. | Romanze; Valse brillante. PF. solo. Siegel. |
| | 170. | La Polka glissante, Caprice. PF. solo. Siegel. |
| | 171. | 'Im Kahn' and 'Der Tanz.' 2 songs for Mixed Choir and Orchestra. Siegel. |
| | 172. | 'Maria Stuart, ein Cyclus von Gesängen' for Voice and PF. (11 Nos.) Siegel. |
| | 173. | 8 Gesänge for Voice & PF. Seitz. |
| | 174. | 'Aus dem Tanzsalon, Phantasie Stücke' (12 Nos.). PF. 4 hands. Seitz. |
| | 175. | 'Orientales,' 8 Morceaux. PF. solo. Forberg. |
| | 176. | Octet for strings (C). Seitz. |
| | 177. | 5th Symphony 'Lenore.' Orch. Seitz. |
| | 178. | Sestet. 2 VV.. 2 Violas, 2 Cellos. Seitz. |
| | 179. | Variations on an original theme. PF. solo. Seitz. |
| | 180. | Suite for Solo V. and Orch. Siegel. |
| | 181. | 2nd Humoreske in Waltz form, 'Todtentanz (Danse macabre).' PF. duet. Siegel. |
| | 182. | 2 Romances for Horn (or Cello) and PF. Siegel. |
| | 183. | Sonata for PF. and Cello. Siegel. |
| | 184. | Six songs for 3 women's voices and PF. Siegel. |
| | 185. | Concerto. PF. and Orch. (C minor). Siegel. |
| | 186a. | Morgenlied for mixed choir and Orch. Siegel. |
| | 186b. | Einer entschlafenen. Soprano solo, Chor. and Orch. Siegel. |
| | 187. | Erinnerung an Venedig (6 Nos.). PF. solo. Siegel. |
| | 188. |
| | 189. | 6th Symphony (D minor) 'Gelebt, gestrebt, gelitten, gestritten, gestorben, umworben.' Orch. B. B. |
| | 190. | Feux follets, Caprice-étude. PF. solo. Siegel. |
| | 191. | [App. p.766 "'Blumensprache,' 6 songs."] |
| | 192. | 3 String Quartets. No. 6. (C minor) Suite älterer Form.—No. 7. (D) Die schöne Mullerin.—No. 8. (C) Suite in Canon-form. Kahnt. |
| | 193. | Concerto (D minor). Cello and Orch. Siegel. |
| | 194. | 2nd Suite in Ungarischer Weise (F). Orch. Bahn. |
| | 195. | 10 Gesänge for men's voices. Kahnt. |
| | 196. | Etude 'am Schilf'; Berceuse; Novelette; Impromptu. PF. solo. Seitz. |
| | 197. | Capriccio (D♭). PF. solo. Seitz. |
| | 198. | 10 Gesänge for mixed choir. Seitz. |
| | 199. | 2 Scenes for Solo Voice and Orch. 'Jäger-braut' and 'Die Hirtin.' Siegel. |
| | 200. | Suite in E♭ for PF. and Orch. Siegel. |
| | 201. | 7th Symphony, 'In the Alps' (B♭). Orch. Seitz. |
| | 202. | 2 Quartets for PF. V. Va. and Cello (G). Siegel. |
| | 203. | 'Volker,' cyclische Tondichtung (9 Nos.). V. and PF. Siegel. |
| | 204. | Suite (B♭). Orch. Challier. |
| | 205. | 8th Symphony 'Frühlingsklänge' (A). Orch. Siegel. |
| | 206. | 2nd Concerto for V. and Orch. (A minor). Siegel. |
| | 207a. | Phantasie (G minor). 2 PFs. Siegel. |
| | 207b. | The same arranged for PF. and Strings. Siegel. |
| | 208. | 9th Symphony (E minor). 'Im Sommer.' Orch. Siegel. |
| | 209. | [App. p.766 "'Die Tageszeiten,' for chorus, pianoforte and orchestra."] |
| | 210. | [App. p.766 "Suite for PF. and violin."] |
| | 211. | 'Blondel de Nesle,' Cyclus von Gesängen, Barit. & PF. B. & H. |
| | 212. | 10th Symphony. 'Zur Herbstzeit.' |
| | 214. | [App. p.766 "Symphony 'Im Winter'"] |
| | 215. | [App. p.766 "'Von der Schwabischen Alb,' 2 PF. pieces"] |
| | 216. | [App p.766 "'Aus der Adventzeit' 8 PF. pieces, edited by von Bülow after the composer's death."] |
| Works without Opus-number. |||
| Valse-rondino on motifs from Saloman's 'Diamantkreuz.' Schuberth. |||
| Reminiscences of the 'Meistersinger' (4 Pts.). Schott. |||
| Valse-impromptu a la Tyrolienne. Schott. |||
| Abendlied by Schumann. Concert-paraphrase. Schuberth. |||
| Berceuse on an Idea of Gounod's. Siegel. |||
| Improvisation on Damrosch's Lied 'Der Lindenzweig.' Lichtenberg. |||
| Valse de Juliette (Gounod). Siegel. |||
| 4 Capriccios on Wallachian (2) and Servian (2) themes. Siegel. |||
| Introduction and Fugue for Organ (E minor). R. B. |||
| Raff-Album—containing Op. 156; 157, Nos. 1, 2: 166, No. 2; 196. Nos. 1–4; 197. Seitz. |||
| Oper im Salon—containing Op. 35–37. 43–45, 61, 65. Schuberth. |||
| Frühlings-Lied. Mez. Sop. and PF. Schott. |||
| Ständchen for Voice and PF. Cotta. |||
* ↑ The Editor desires to express his obligations to Messrs. Augener & Co. for great assistance kindly rendered him in the difficult task of drawing up this list.
* ↑ B. & H.=Breitkopf & Härtel.
* ↑ R. B.=Rieter-Biedermann & Co.
* ↑ B. B.=Bote & Bock.