Joachim Raff was a largely self-taught composer whose style stands somewhere between the German traditionalism of Schumann and the newer school of Wagner. Raff composed seven Suites for Piano, a form he preferred to the sonata, and this provided him with greater freedom as a composer, resulting in his most substantial contribution to the piano literature. This is reflected in the Mendelssohn-like lyricism of the First Suite; contrasts between Baroque and Romantic styles in the Third Suite, a piece admired by Liszt; and more nationalist inclinations in the memorably melodic Fifth Suite.
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Piano Suite No. 1 in A Minor, Op. 69 (1857) (00:11:30 )
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1
I. Preludio (00:01:58)
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2
II. Mazurka (00:02:31)
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3
III. Toccatina (00:01:23)
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4
IV. Aria (00:03:24)
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5
V. Fuga (00:01:50)
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Piano Suite No. 3 in E Minor, Op. 72 (1857) (00:15:30 )
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6
I. Preludio (00:02:30)
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7
II. Minuetto (00:02:38)
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8
III. Toccata (00:02:03)
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9
IV. Romanza (00:04:17)
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10
V. Fuga (00:03:51)
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Piano Suite No. 5 in G Minor, Op. 162 (1870) (00:31:30 )
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11
I. Elegie in Sonatenform (Elegy in Sonata Form) (00:08:40)
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12
II. Volkslied mit Variationen (Folksong with Variations) (00:12:46)
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13
III. Ländler (00:04:43)
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14
IV. Märchen (Fairy Tale) (00:05:01)
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“[Raff] could ask for no better advocate than pianist Hyelim Kim… She is a virtuoso, but not for virtuosity’s sake. Her range of tone is vast and always beautiful, her fingers are nimble, and her imagination expansive. She knows how to make the keyboard ring from top to bottom, how to ford with ease the most technically daunting passages, how to shape a piece from the first note to the double bar.” – Fanfare