Symphony No.7 in B flat major "In the Alps" - Joachim Raff

Bamberg Symphony Orchestra conducted by Hans Stadlmair.

I - Wandering in the High Mountains. Andante - Allegro: 0:00
II - At the Inn. Andante quasi allegro: 16:18
III - On the Lake. Larghetto: 22:29
IV - At the Festival - Farewell. Allegro con spirito: 30:50

Raff's Symphony No.7 was composed between spring and summer of 1875. It was premiered in Wiesbaden on December 30 of 1875, conducted by his friend Louis Lüstner. Unfortunately, the work was coldly received as the public expected something more similar to Raff's Symphonies No.3 and 5, which made him immensely popular at the time.

As the title suggest, the work is inspired by the Alps, a mountain range that passes across seven countries (from west to east): France, Switzerland, Italy, Liechtenstein, Austria, Germany, and Slovenia. The work has descriptive subtitles for each movement, but like Beethoven's sixth symphony, it aims to express feelings more than to describe the mountains themselves. The work slightly anticipates the music of Richard Strauss, specially his Alpine Symphony.

The first movement is structured in sonata form. It begins with solemn chords, followed by a slow introduction that introduces elements further exposed later, reflecting the majesty of the heights of the mountains. A crescendo leads us to the main allegro. A vigorous rhythmic main theme is presented by bassoon and flute, followed by a powerful tutti. A bucolic second theme is introduced by strings, then on horn and oboe. A lively and cheerful development section follows, showcasing Raff's proficient use of counterpoint. The recapitulation brings the main themes back, leading us to new development that culminates in a fugal passage. After a potent climax, an exhilarating coda ends the movement brilliantly.

The second movement is a scherzo in ternary form. It begins with a gentle main theme with a smooth rhythmic support from the basses. It evolves into a joyful dance of German character, contrasted by a more melodic waltz-like idea. The trio opens with a lyrical second theme presented by violas and cellos, romantic in expression. After virtuosic flourishes from the woods, the scherzo is lively resumed. The music culminates in a bright climax, before a sombre coda ends the movement.

The third movement is written in ternary form. It begins with a calm and widely lyrical main theme on violas and bassoon. It unfolds in an expressive and romantic manner, emerging to the sky with flutes, oboes and horns. A seamless transition leads us to the middle section, in which a variation of the theme turns the music more dissonant and dark until reaching a climax. The main theme is then peacefully recapitulated. A low-key coda ends the movement.

The fourth movement is structured as a theme and variations. The German subtitle refers to a Swiss contest in which players try to throw each other, using the left hand, with the right hand in the belt. It opens with a cheerful and light main theme introduced by the woods. The first variation features the strings over brass triplets. The second variation is moreBeethovenian, with double basses contrasted by firm chords. The third variation is substantially contrapuntal in nature, leading to a solemn climax. The fourth variation is more dramatic and forceful, but still heavily contrapuntal. In the fifth one, the theme passes around the strings, before the sixth plays a contrast between forte-piano, culminating in a grand climax. The seventh variation is deeply lyrical, with references to the main theme of the first movement. A triumphal coda full of life and joy ends the work brilliantly.

Picture: Photograph of Val Gardena with the Saslonch and Sella group in the Dolomites from Resciesa, South Tyrol (2012).

Musical analysis mostly written by myself. Sources: https://bit.ly/3kcnS6j and https://bit.ly/3H3gIuf

To check the score: https://bit.ly/3CIBFI6