Maria Stuart, op. 172 and 8 Songs, op. 173

Although the lied genre seems to play a rather subordinate role in Joachim Raff's oeuvre, it contains true gems of the art song. These were already raved about by Ludwig and Malwina Schnorr von Carolsfeld, the first performers of Wagner’s Tristan und Isolde. For this edition of selected works, Raff expert Simon Kannenberg has edited two outstanding lieder collections from Raff’s creative middle period.

Fascinated by the historical figure of Mary Stuart, Raff chose a collection of translations by Gisbert von Vincke, which had already inspired Robert Schumann to compose his opus 135, for his own opus 172, creating a cycle of poignant and personal reflections that lead up to the tragic demise of the Scottish queen.

The second half of the Acht Gesänge [Eight Songs] op. 173, composed during the same period (1868–1871/1872), also revolves around the themes of farewell, transience, death wish and devotion to death. The first half, with its Thomas Moore poems translated by Vincke, largely echoes the Romantics’ enthusiasm for England and Scotland. The song Be Still in particular had a profound effect “for the sake of its religious ardency, especially at church concerts and funerals”.

The songs have been composed for different voice ranges and are suitable for both teaching and performance.