See also:

• JOSEPH
• JOSEPH, COMTE DE (1785-1870)
• JOSEPH, FATHER (FRANCOIS LECLERC DU TREMBLAY) (1577-1638)

JOSEPH See also:

• JOACHIM, JOSEPH (1831—1907)

JOACHIM See also:

• JOSEPH JOACHIM RAFF (1822-1882)

RAFF (1822-1882)  , See also:

• GERMAN
• GERMAN, DUTCH AND SCANDINAVIAN

German composer and orchestral conductor, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born near See also:

• ZURICH
• ZURICH (Fr. Zurich; Ital. Zurigo)

Zurich, See also:

• SWITZERLAND

Switzerland, on the 27th of May 1822, and educated chiefly at See also:

• SCHWYZ
• SCHWYZ (modern spelling Schwiz)

Schwyz . Here, under the care of the Jesuit fathers, he soon became an excellent classical and mathematical See also:

• SCHOLAR, SCHOLARSHIP

scholar, but received scarcely any instruction in his favourite See also:

• ART

art of See also:

• MUSIC

music, in which, nevertheless, he made extraordinary progress through sheer force of natural See also:

• GENIUS (from Lat. genere, gignere)

genius, See also:

• DEVELOPED

developed by persevering study which no See also:

• EXTERNAL

external obstacles could induce him to discontinue . So successful were his unaided efforts that, when in 1843 he sent some See also:

• MSS

MSS. to Mendelssohn, that warm encourager of youthful See also:

• TALENT (Lat. talentum, adaptation of Gr. TaXavrov, balance, ! Recollections of a First Visit to the Alps (1841); Vacation Rambles weight, from root raX-, to lift, as in rXi vac, to bear, 1-aXas, and Thoughts, comprising recollections of three Continental

talent See also:

• FELT (cognate with Ger. Filz, Du. vilt, Swed. and Dan. fill; the root is unknown; the word has given Med. Lat. filtrum, " filter ")

felt justified in at once recommending him to Breitkopf & Hartel, the .See also:

• LEIPZIG

Leipzig publishers, who brought out a large selection of his See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early See also:

• WORKS

works . Soon after this he became acquainted with See also:

• LISZT, FRANZ (1811-1886)

Liszt, who gave him much generous encouragement . He first became personally acquainted with Mendelssohn at See also:

• COLOGNE (Ger. Koln, or officially, since 1900, Coln)

Cologne in 1846, and gave up all his other engagements for the purpose of following him to Leipzig, but his intention was frustrated by the See also:

• GREAT

great composer's See also:

• DEATH

death in 1847 . After this disappointment he remained for some See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time at Cologne, where his See also:

• ATTENTION (from Lat. ad-tendo, await, expect; the condition of being " stretched " or " tense ")

attention was alternately devoted to See also:

• COMPOSITION
• COMPOSITION (Lat. compositio, from componere, to put together)

composition and to the preparation of critiques for the periodical Ceicilia . Thus far he was a self-taught artist; but he felt the need of systematic instruction so deeply that, retiring for a time from public See also:

• LIFE

life, he entered at See also:

• STUTTGART

Stuttgart upon a See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long course of severe and uninterrupted' study, and with so much success that in 185o he appeared before the See also:

• WORLD

world in the See also:

• CHARACTER (Gr. xapareri7p, from xap&crew, to scratch)

character of an accomplished and highly cultivated musician . See also:

• RAFF, JOSEPH JOACHIM (1822-1882)

Raff now settled for a time in See also:

• WEIMAR

Weimar in See also:

• ORDER
• ORDER (through Fr. ordre, for earlier ordene, from Lat. ordo, ordinis, rank, service, arrangement; the ultimate source is generally taken to be the root seen in Lat. oriri, rise, arise, begin; cf. " origin ")
• ORDER, HOLY

order to be near Liszt . Hans von Billow had already brought him into See also:

• NOTICE

notice by playing his Concertstuck for piano-forte and See also:

• ORCHESTRA (Fr. Orchestre; Ger. Kapelle, Orchester; Ital. Orchestra)

orchestra in public, and the favour with which this, See also:

• FINE

fine See also:

• WORK

work was everywhere received encouraged him to See also:

• ATTEMPT (Lat. adtemptare, attentare, to try)

attempt a greater one . During his stay in Stuttgart he had begun the composition of an See also:

• OPERA (Italian for " work ")

opera entitled See also:

• KONIG, KARL RUDOLPH (1832-1901)

Konig See also:

• ALFRED

Alfred, and had See also:

• GOOD, JOHN MASON (1764-1827)

good See also:

• HOPE, ANTHONY
• HOPE, THOMAS (c. 1770-1831)

hope of securing its performance at See also:

• DRESDEN

Dresden; but the See also:

• POLITICAL

political troubles with which See also:

• GERMANY
• GERMANY (Ger. Deutschland)

Germany was then overwhelmed rendered its See also:

• PRODUCTION (Lat. productionem, from producere, to pro-duce)

production in the Saxon See also:

• CAPITAL (i.e. capital stock or fund)
• CAPITAL (Lat. caput, head)

capital impossible . At Weimar he was more fortunate . In due time Konig Alfred was produced there under Liszt's able direction at the See also:

• COURT
• COURT (from the O. Fr. court, Late Lat. cortis, curtis, a popular form of class. Lat. cohors, gen. cohortis; the mod. Fr. form tour is due to the influence of the Lat. curia, the word used in medieval documents to translate " court " in the feudal sense)
• COURT, ANTOINE (1696-176o)

court See also:

• THEATRE (BEarpov, " a place for seeing," from OeacOae)

theatre with See also:

• COMPLETE

complete success; and later, in 1870, he wrote his second opera, See also:

• DAME
• DAME (through the Fr. from Lat. domina, mistress, lady, the feminine of dominus, master, lord)

Dame Kobold, for performance at the same theatre .

A third opera, See also:

• SAMSON (1135-1211)
• SAMSON (cf. Heb. shemesh, " sun ")
• SAMSON, JOSEPH ISIDORE (1793-1871)

Samson, remained unstaged . Raff lived at Weimar until 1856, when he obtained a large clientele at See also:

• WIESBADEN

Wiesbaden as a teacher of the See also:

• PIANOFORTE (Ital. piano, soft, and forte, loud)

pianoforte . In 1859 he married See also:

• DORIS

Doris Genast, an actress of high repute, and thence-forward devoted himself with renewed See also:

• ENERGY (from the Gr. ivipyela; iv, in, ipyov, work)

energy to the work of composition, displaying an inexhaustible fertility of invention tempered by great technical skill . He resided chiefly at Wiesbaden till 1877, when he was appointed director of the Hoch-Conservatorium at See also:

• FRANKFORT

Frankfort, an See also:

• OFFICE (from Lat. officium, " duty," " service," a shortened form of opifacium, from facere, " to do," and either the stem of opes, " wealth," " aid," or opus, " work ")

office which he retained until his death on the 25th of See also:

• JUNE

June 1882 . More than 200 of Raff's compositions have been published, including ten symphonies--undoubtedly his finest works—quartets, concertos, sonatas, songs, and examples of nearly every known variety of See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style; yet he never repeats himself . Notwithstanding his strong love for the romantic school, he is never guilty of extravagance, and, if in his See also:

• MINOR
• MINOR (Lat. for smaller, lesser)
• MINOR, ROBERT CRANNELL (1839-1904)

minor works he is sometimes a little See also:

• COMMON

common-See also:

• PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place, he never descends to vulgarity . His symphonies Lenore and See also:

• IM(K2+a2+h2—2 ah cos 0)

Im Walde are wonderful examples of musical See also:

• PAINTING

painting .