Composers
Despite the abundance and high quality of Joachim Raff's (1822-82) songs, this part of his oeuvre is little known and documented - in contrast to his instrumental works, which have been recorded several times. Raff's song oeuvre has hardly been the subject of music-historical research. We sincerely hope and wish that this recording, which consists entirely of premiere performances, can interest someone in Raff's songs - so that we can encounter them more often in concerts. While Joachim Raff was in Liszt's employ, the older composer encouraged his younger colleague to devote himself to the creation of religious music literature. Raff was much more interested in keyboard and vocal music in general and the theater in particular. In July 1853 Raff composed his setting of the Te Deum, a rare concession to Liszt's encouragement, in response to a commission from the Roman Catholic Church in Weimar.
(Text by Hedayet Jonas Djeddikar and Johannes Wedeking)
Heinrich Hofmann, born on January 13, 1842 in Berlin, was a versatile German composer and pianist whose works gained popularity over time but were largely forgotten. His musical career began at the age of nine as a member of the Berlin Cathedral Choir, where he quickly developed his talent as a singer. His musical education was shaped by studies with renowned music teachers such as Theodor Kullak, Eduard Grell, Siegfried Dehn and Richard Wüerst.
Originally equipped with a promising soprano voice, financial constraints and a love of music led Heinrich Hofmann to switch to the world of piano playing and composition. His early years were characterized by hardship, but his participation in the choir of the Berlin Opera not only brought financial relief, but also enabled him to quickly grasp musical effects and integrate them into his own works.
Heinrich Hofmann's songs, about which unfortunately little is known today, are a fascinating example of the condensation of life worlds in musical form. In particular, his song cycles such as "Wanda, op. 44" and "Singuf, op. 58, 62, 82" reflect both socio-political and romantic-intimate facets. The selection and compositional design of these works demonstrate Hofmann's ability to combine a wide variety of moods and genres, from romantic lyricism to ballads and drinking songs.
Alongside his songs, Hofmann also created important orchestral works such as the "Hungarian Suite" and the "Frithjof Symphony", which were among the most frequently performed orchestral works in Germany. His style, which is described as classicist and shows influences from Mendelssohn and Schumann, brought him recognition, even if his works later fell into oblivion.
A central work in Hofmann's chamber music oeuvre is the Piano Quartet in D minor op. 50. Hofmann also devoted himself to other chamber music forms, including the Piano Trio op. 18 and works for cello and piano such as the Romance op. 48 and the Serenade op. 63. His versatility is evident in arrangements such as the Adagio from the Cello Concerto op. 31, arranged for violin by Johannes Lauterbach, or the Concert Piece for Flute and Orchestra. Even the Steppenbilder op. 39, originally for piano four hands, was adapted for violin and piano by Franz Ries.
Heinrich Hofmann also successfully devoted himself to the genre of opera. His works such as "Armin" (1877), "Ännchen von Tharau" (1878), "Wilhelm von Oranien" (1882) and "Donna Diana" (1886) were well received, with "Cartouche" (1869) marking his successful operatic debut.
Hofmann spent the last years of his life in Großtabarz in Thuringia. He died on July 16, 1902 at the age of 60 after a long period of suffering. Although his works faded into the background in the period after his death, they contributed to the diversity of the musical landscape.
Victor Ernst Nessler (1841–1890) was a German composer best known for his operas and art songs, which have captivated audiences with their melodic charm and rich harmonies. Born in Baldenheim, Alsace, Nessler's musical journey began in Strasbourg, where his talent quickly became evident, leading him to pursue formal studies in Leipzig. It was here that Nessler's distinctive style began to take shape, blending the romantic fervor of his time with a keen sense for drama and narrative depth.
Nessler's operas, such as "Der Trompeter von Säckingen" and "Der Rattenfänger von Hameln," showcase his ability to weave compelling stories with memorable music. These works gained considerable popularity in the late 19th century, celebrated for their accessible melodies and engaging plots that often drew upon German folklore and medieval themes.
Beyond the opera stage, Nessler's art songs reflect his lyrical sensitivity and a deep understanding of the voice. His compositions in this genre are notable for their emotional expressiveness and the seamless integration of vocal lines with piano accompaniment, making them cherished pieces in the lieder repertoire.
Throughout his career, Nessler remained dedicated to creating music that resonated with the public, achieving a balance between artistic innovation and widespread appeal. Despite his success, his works have become less frequently performed over time, making recent recordings and performances of his music especially valuable for introducing his oeuvre to new audiences.
Victor Ernst Nessler's contribution to the world of music remains significant, offering a bridge between the traditions of German romanticism and the evolving tastes of the late 19th century. His legacy continues to be appreciated by those who explore the depths of his compositions, discovering the timeless beauty and emotional depth of his musical narratives.
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