Grand Opera: König Alfred [King Alfred ] WoO.14 (1848-52). Listen to an extract
Unpublished. Libretto: Gotthold Logau (pseudonym of Henrik Glogau). Premiere: 1851, Weimar. Synopsis: the story centres on the Anglo-Saxon King Alfred's defeat of the Norsemen in ninth century England.

• Overture.
• Act I. King Alfred, in his camp, agrees that Count Osrik can marry his sister Editha, even though it is against her wishes. She loves Alfred's friend Edmund, who later discovers Osrik's treacherous dealings with the Norsemen. Scenes 1-6.
• Act II. Edmund tells Alfred of Osrik's betrayal, but the king reluctantly imprisons him after Osrik denies it. Editha pleads with Alfred to believe Edmund and he decides to find out for himself. Scenes 1-5.
• Act III. Alfred visits the Norsemen's castle disguised as a harpist and discovers the truth. He plays before the Norse king and Osrik and is saved from discovery by Gunilde, the king's daughter. Scenes 1-5.
• Act IV. Led by Alfred and the freed Edmund, the Anglo-Saxons defeat the Norsemen. Edmund and Editha are reunited, Gunilde agrees to marry Alfred and Osrik is exiled. Scenes 1 & 2.

Musical Tragedy: Samson WoO.20 (1853-57). Listen to an extract
Published: 2019/2021, Edition Nordstern. Libretto: Raff. Premiere: 2022, Weimar. Synopsis: Set in biblical Gaza, chief city of the Philistines, the opera tells the story of Samson and Delilah.

• Act I. The Israelites, led by Samson, are besieging Gaza. Before he leads out the defenders the Philistine leader Abimelech appoints his daughter Delilah his successor, provided she marries the Israelite traitor Micha, but she spurns him. The Philistines return defeated, but Delilah successfully pleads with Samson to spare them. Scenes 1-6.
• Act II. Delilah reluctantly agrees to help Abimelech take Samson, now her lover, hostage. The Philistine council rejects this plan and Micha threatens rebellion if Samson is not imprisoned and blinded. The anguished Abimelech agrees. Scenes 1-3.
• Prelude (orchestra)
• Act III. Delilah delays Samson's planned departure long enough for Micha's men to capture him. The High Priest confirms Samson's sentence and Delilah realises she has been betrayed by her father. Scenes 1-4.
• Act IV. In a dungeon Samson vows to kill himself and all his enemies by using his strength to collapse the temple. Delilah, disguised as a youth, visits him and vows to share his fate. Scenes 1-4.
• Act V. Amidst dancing and celebration at the temple, Delilah finds Abimelech and urges him to leave, but Samson pushes the temple's pillars apart and it collapses, burying everyone. March & 3 dances (orchestra) - Scenes 1-4.

Libretto of Dame Kobold Op.154

Comic Opera: Dame Kobold [Phantom Lady] Op.154 (1869). Listen to an extract
Published: 2020, Edition Nordstern. Libretto: Paul Reber. Premiere: 1870, Weimar. Synopsis: the plot is an adaptation of Calderón’s La Dama Duende, set in Madrid in the 1600s.

• Overture
• Act I. Don Manuel and his servant Rodrigo help a veiled lady evade an pursuer, whom Manuel fights. He is slightly wounded, but recognises his assailant as an old friend, Don Juan, who invites him to recover in his house. Juan has installed a secret door into the room of his widowed sister, Donna Angela, the veiled lady. Angela's servant Beatrice discovers the secret door, which leads to Manuel's room. Angela writes a note to Manuel, which Beatrice leaves in his room. Juan tells Angela that unless she marries someone of his choice, she will have to enter a convent. Scenes 1-5 - Intermezzo (orchestra) - Scenes 6-11.
• Act II. Manuel finds Angela's note in his locked room and Rodrigo suspects demonic forces. Manuel writes a reply to the "phantom lady" and waits in the darkened room, which Angela enters via the door. They declare their love but she leaves without revealing her identity. To continue the deception, Beatrice organises four hooded men to carry off Manuel to meet the phantom. Rodrigo is terrified. Scenes 1-5.
• Act III. The deception unravels in a series of misunderstandings. Juan, in despair at his sister's behaviour, announces that she must marry Manuel to their joint delight. The opera ends amidst celebration. Scenes (1-4) - Dance Divertissement (orchestra) - Scenes 5-13.

Opera: Die Parole [The Watchword] WoO.29 (1871-72) Listen to an extract
Unpublished. Libretto: Arnold Börner (pseudonym of Raff). Unperformed. Synopsis: a story of faithful love and military duty, it is set in a princely village in 18th century Germany.

• Overture
• Act I. Jack, a widowed farmer, plans to marry Elsbeth, who is betrothed to Karl, a soldier. Assuming she will not want to share Karl's disgrace, Jack has forced an auction of Karl's property to pay off his father's debt to Jack, who has promised to stop the sale if Elsbeth agrees to marry him. When Karl tells her that he is forced to leave the village, she urges him to have courage and tells him that she will remain true to him. At another couple's wedding Elsbeth spurns Jack's proposal, making a fool of him. Scenes 1-7 - Dance (orchestra) - Scene 8.
• Act II. That night, Karl is on duty outside the palace grounds. The Prince approaches but has forgotten the watchword and so is arrested. Karl refuses to accept a bribe, which impresses the prince, to whom Karl tells his sad story. Meanwhile the villagers play a joke on Jack: one encourages him by impersonating Elsbeth, after which they taunt him for his duplicity and steal his wig. Scenes 1-9.
• Act III. The next morning there is consternation at the news that the auction has been cancelled but Karl has been dismissed from his regiment. Jack endures more humiliation from the villagers before retrieving his wig. The Prince arrives and confirms that he has settled Karl's debts and was so impressed by his honesty that he has appointed him to his household, hoping that the couple will soon marry. Scenes 1-9.

Lyric Opera: Benedetto Marcello WoO.46 (1877-78) Listen to an extract
Published: 2002, Edition Nordstern. Libretto: Raff. Premiere: 2002, Metzingen. Synopsis: the plot, set in Venice in 1727, centres on the rivalry in love of the composers Benedetto Marcello and Johann Adolf Hasse.

• Overture
Act I. Rosana and Faustina, two singing pupils of the composer Benedetto Marcello, await his arrival. When he appears he introduces them to Adolf Hasse, a visiting German composer, and they sing to him: Rosana of unrequited love and Faustina a joyful song. Hasse is captivated by her singing and she invites him to a party that evening. Scenes 1-4.
• Entr'acte
• Act II. In her rooms that evening Faustina and Hasse recognise their mutual love, but when they return from the party Marcello, who was intending to serenade Faustina, overhears them and attacks Hasse. In the ensuing struggle Hasse overcomes Marcello, but pledges his continued friendship. Scenes 1 & 2 - Notturno (Italian Suite WoO.35, IV. Notturno [1871]) - Scenes 4-6.
• Entr'acte (Italian Suite WoO.35, II. Barcarole [1871])
• Act III. The next morning Rosana realises that Marcello is crestfallen at Faustina's rejection of him and is sad that he does not recognise her own feelings for him. When he confirms that he is leaving Venice, she is adamant that she will follow him which forces him to recognise his own feelings for her. Hasse and Faustina's hesitant arrival prompts a general reconciliation and the couples part happily. Scenes 1-3.

Opera: Die Eifersüchtigen [The Jealous Ones] WoO.54 (1881-82) Listen to an extract
Unpublished. Libretto: Raff. Premiere: 2022, Arth. Synopsis: A story of amorous misunderstandings in mid-16th century Florence.

• Overture
• Act I. Don Giulio's servant Beppino offers to help his master overcome his shyness with Donna Rosa, in return for Giulio's help in enabling him to marry Ninetta, Rosa's maid. Meanwhile Giulio's sister Donna Bianca worries about her love for Don Claudio, Rosa's cousin and son of Don Geronimo. Beppino suspects that Geronimo wants Claudio to marry Rosa, but he also offers to help Bianca and, at Geronimo's house, enlists Ninetta's help in a plan he is hatching to unite the two couples. Geronimo suggests to Rosa that she marry Claudio, an idea she rejects before Claudio himself arrives and they meet. Scenes 1-7 - Entr'acte - Scenes 8-12.
• Act II. Claudio tells Rosa about his love for Bianca, and they agree to frustrate Geronimo's marriage plan for them. Beppino has arranged for them to see Giulio and Bianca sailing by in a gondola and, as Beppino had hoped, Rosa and Claudio wrongly believe them to be a couple. Rosa is dismayed and Claudio rushes off, following the gondola. Scenes 1-4.
• Act III. An agitated Claudio arrives at Giulio's house, only to be detained at Beppino's suggestion by two watchmen and marched away. Geronimo and Rosa arrive and Giulio emerges from the house, confirming that Bianca is his sister. Realising the misunderstandings engineered by Beppino, they all go to the watch house, where Claudio is eventually released. Geronimo blesses the union of the two noble couples and Beppino and Ninetta look forward to marriage as servants of Giulio and Rosa. Scenes 1-9.

Der 121 Psalm [The 121st Psalm] WoO.8 (1848).
Soloists: SSA. Unpublished, LOST. Text: religious. Premiere: Weimar, 1855.

• I. Ich hebe meine Augen auf zu den Bergen [I lift up my eyes to the hills].
• II. Er wird deinen Fuß nicht gleiten lassen [He will not let your foot slip].
• III. Der Herr behüte dich vor allem Übel [The Lord will keep you from all harm].

Der Entfesselte Prometheus [Prometheus Unbound] WoO.14A (1850). Listen to an extract
Soloists: SATTBB & speakers. Published: Overture 2002, Edition Nordstern - other nos. unpublished. Text: Johann Gottfried von Herder. Premiere: 1850, Weimar. Arrangement & orchestration of Liszt's sketches. The work is performance of Herder's poem, in a series of static tableaux, some of which is set to music as choruses and melodramas

• Overture.
• Untitled music (strings only).
• 1. Introduction.
• 2. Melodrama (Prometheus) & Chorus of the Oceanides.
• 3. Chorus of Tritons & Oceanides. Melodrama (Prometheus).
• 4. Melodrama (Prometheus) & Chorus of Dryads.
• 5. Chorus of Reapers.
• 6. Vintners’ Chorus.
• 7. Melodrama (Prometheus) & Chorus of the Underworld Spirits.
• 8. Chorus of the Invisibles.
• 9. Chorus.

Score of Wachet auf! Op.80

Te Deum WoO.16 (1853). Listen to an extract
Published: 2015: Edition Nordstern. Text: Religious. Premiere: 1853, Weimar.

Domine Salvum Fac Regem by Liszt WoO.16B (1853). Listen to an extract
Ensemble: Tenor soloist & male choir. Published: 1936, Breitkopf & Härtel. Text: religious. Premiere: 1853, Weimar. Orchestration for Liszt.

An die Künstler [To Artists] by Liszt WoO.16C (1853).
Ensemble: TTBB soloists & male choir. Unpublished. Text: Friedrich Schiller. Premiere: 1853, Karlsruhe. Orchestration for Liszt.

Fairy Tale Epic: Dornröschen [Sleeping Beauty] WoO.19 (1855).
Listen to an extract
Soloists: 8. Unpublished. Text: Wilhelm Genast. Premiere: 1856, Weimar.

• Orchestral Prelude.
• Part 1. The King meets the Water Nymph outside his castle and they discuss their daughter, the Princess. The Nymph is dismayed that the King has already selected a husband for her and tells him that their daughter will only be happy in 100 years. Elves predict a happy outcome for the Princess. Nos.1-4.
• Part 2. There is feverish activity in the castle, but the Princes is at her spinning wheel. The elves reassure her that the wheel's spindle will save her, if need be. The King's selected suitor arrives, but she ignores him and carries on spinning. Annoyed at her indifference, the King attempts to take the spindle but it breaks, pricking her finger. There is a tumult, at which the suitor takes frights and flees. First the Princess, then the King and gradually the whole castle falls asleep and over the years thorns grow up and surround the castle. Nos.1-8 - No.9 Die Dornhecke [The Thorn Hedge] (orchestra).
• Part 3. The Narrator describes the creation of the legend of Sleeping Beauty, and how the thorns frustrate all attempts to penetrate them. The Nymph and the the elves predict the arrival of her chosen one, for whom the thorns will give way. Nos.1-4 - No.5 Elfenwalten [Rule of the Elves] (orchestra).
• Part 4. Huntsmen arrive at the edge of the forest. A nightingale entices the Count, their leader, to go further. He struggles through the thorn hedge and the thorns turn to flowers, revealing the castle. He finds the Princess, she wakes and they embrace. The King wakes and objects to their marriage, until the count explains that they have been sleeping for 100 years and the Nymph blesses their union. Gradually the castle's staff wake, the huntsmen arrive and everyone hails the miracle. Nos.1 & 2 - No.3 Auszug der Jagd [Departure for the Hunt] (orchestra) - No.6 - No.7 Der Graf & die Dornhecke [The Count & the Thorn Hedge] (orchestra) - Nos.8-22.

Missa Solennis by Liszt WoO.19B (1856).
Soloists: SATB. Text: religious. Published: 1859, Viennae Austriacorum. Piano accompaniment arrangement for Liszt.

• I. Kyrie
• II. Gloria
• III. Credo
• IV. Sanctus
• V. Benedictus
• VI. Agnus Dei

Wachet auf! [Awake!] Op.80 (1858).
Ensemble: baritone soloist, SATB quartet & male choir. Published: 1862, Schott. Text: Emanuel Geibel.

Festival Cantata: Deutschlands Auferstehung [Germany’s Resurrection] Op.100.
(1863) Ensemble: baritone soloist & male choir. Published: 1864, Kahnt. Text: Friedrich Conrad Müller von der Werra. Premiere: 1865, Königsberg.

De Profundis Op.141 (1867). Listen to an extract
Soloist: soprano. Published: 1868, Schuberth. Text: religious. Premiere: 1872, Weimar.

• I. Orchestral Introduction
• II. De Profundis
• III. Si iniquitates
• IV. Quia apud te
• V. A custodia
• VI. Et ipse redimet

Lauda Sion & Stabat Mater WoO.30A (1868).
Unpublished, LOST. Text: religious. Accompaniment of six wind instruments for two existing a capella sequences of the Roman Catholic mass used in Raff’s baptismal church in Lachen, Switzerland.

Zwei Gesänge für gemischten Chor [Two Songs for mixed choir] Op.171 (1871).
Published: 1872, Siegel.

• No.1 Im Kahn [In a Rowing Boat]. Text: Arnold Börner - pseudonym of Raff.
• No.2 Der Tanz [The Dance]. Ensemble: SATB quartet & mixed choir. Text: Paul Flemming.

Op.186 A. Morgenlied [Morning Song] (1873). Listen to an extract
Published: 1874, Siegel. Text: Johann Jacobi.
Op.186 B. Einer Entschlafenen [Elegy] (1873). Listen to an extract
Soloist: soprano (optional). Published: 1874, Siegel. Text: Arnold Börner - pseudonym of Raff.

Concertante: Die Tageszeiten [The Times of Day] Op.209 (1877). Listen to an extract
Ensemble: Piano, SATB choir & orchestra. Published: 1880, Breitkopf & Härtel. Text: Helge Heldt - pseudonym of Helene Raff. Premiere: 1880, Wiesbaden.

• I. Im hellsten Licht erglänzt die Welt [The world shines with intense brightness].
• II. Die Sonne sich neiget, der Abend, er steiget [The sun sinks. The evening rises].
• III. Still ist’s nun [It is quiet now].
• IV. Es ist mit Dunkel und Schatten verschwunden die lange Nacht [With darkness and shadow the long night has vanished].

Cantata: Die Sterne WoO.53 (1880). Listen to an extract
Published: 2013, Edition Nordstern. Text: Helge Heldt - pseudonym of Helene Raff. Premiere: 2012, Frankfurt.

• I. Vom Firmamente blinkt Sternenglanz hernieder [The stars beam down from the firmament].
• II. Es schaut der Lotse auf der See empor zur Höh [The pilot at sea looks up to the heights].
• III. Hell und freundlich lacht der Gestirne Pracht [The stars’ splendour laughs brightly and kindly].
• IV. Ein Stern der Höhen fällt [A star high up falls].
• V. Wenn das Aug’ in nächt’ger Stille [When the eye in night-time silence].

Oratorio: Welt Ende – Gericht – Neue Welt [World's End - Judgement - New World] Op.212 (1881). Listen to an extract
36 nos. in 3 parts (including an orchestral introduction and 9 intermezzi). Soloists: baritone & mezzo-soprano. Published: 1882/83, Breitkopf & Härtel. Text: Bible (Book of Revelation). Premiere: Weimar, 1882. The work summarises the events described in the biblical Book of Revelation.

• Part 1. Welt Ende [World's End].
• Part 1A. Vision des Johannes [Vision of St John]: Orchestral Introduction - Nos.1-3.
• Part 1B. Die Apokalyptischen Reiter [The Horsemen of the Apocalypse]: Nos.4-11, including orchestral intermezzi No.5 Die Pest [Pestilence], No.7 Der Krieg [War], No.9 Der Hunger [Famine] & No.11 Tod und Hölle [Death & Hell].
• Part 1C. Frage und Dank der Märtyrer [Petition and Thanksgiving of the Martyrs]: Nos.12-15.
• Part 1D. Letzte Zeichen in der Natur und Verzweiflung der Menschen [Last Signs in Nature and the Despair of Mankind]: Nos.16-20, including orchestral intermezzo No.18 Die Letzten Zeichen [The Last Signs].
• Part 2. Gericht [Judgement]: Nos.21-29, including orchestral intermezzi Nos.22 Posaunenruf [Trumpet Call], No.24 Die Auferstehung [The Resurrection] & No.28 Das Gericht [The Judgement].
• Part 3. Neue Welt [New World]: No.30 Orchestral intermezzo - Nos.31-36.

Traumkönig und sein Lieb [Dream-King and his Love] Op.66 (1854). Listen to an extract
Published: 1857/1875, Schott. Text: Emanuel Geibel. Premiere: 1855, Weimar.

Two Orchestral Songs for F.A. Schulz’s Quodlibet Der reisende Student WoO.19A (1855).
Published: 2021, Edition Nordstern. Premiere: 1855, Weimar.

• I. Keine Sorg’ um den Weg: [Don’t Worry Along the Way]. Text: Klaus Groth. Published as Op.98 No.10, with piano accompaniment (see below).
• II. Frühlingstoaste [Spring Toasts]. Text: traditional.

Zwei Scenen [Two Scenes] Op.199 (1875).
Published: 1875, Siegel. Text: Therese Schleiden.

• No.1 Die Jägerbraut [The Hunter’s Bride].
• No.2 Die Hirtin [The Shepherdess].

Deutsches Bundeslied [German Patriotic Song] by Lindpaintner WoO.9N (1849)
Arrangement for male choir. Published: 1855, Schuberth. LOST. Text: Adolph Schirmer.

Nostrum desiderium [Our Wish] WoO.18A (1855)
TTBB male choir. Unpublished, LOST. Text: Hoffmann von Fallersleben.

Score of Zehn Gesänge für Männerchor Op.97

Zehn Gesänge für Männerchor [Ten Songs for Male Choir] Op.97 (1853-63)
Published: 1865, Kahnt.

• No.1 Trinklied [Drinking Song] Text: G. Freudenberg.
• No.2 Morgenständchen [Morning Serenade]. Text: Albert Träger.
• No.3 Untreue [Unfaithfulness]. Text: Hans von Hopfen.
• No.4 Wanderlust, hohe Lust [Wanderlust, great pleasure]. Text: Hoffmann von Fallersleben.
• No.5 Nachtgruß [Night-Time Greeting]. Text: Josef von Eichendorf.
• No.6 Ballade [Ballad]. Text: Ernst Moritz Arndt.
• No.7 Die gefangenen Sänger [The Captive Singer]. Text: Maximilian von Schenkendorf.
• No.8 Am Morgen [In the Morning]. Text: Hermann von Lingg.
• No.9 Jägerleben [Hunter’s Life]. Text: Ernst - pseudonym of Matthias Schleiden.
• No.10 Der liebste Buhle [The Dearest Lover]. Text: traditional.

Zehn Gesänge für Männerchor [Ten Songs for Male Choir] Op.122 (1853-63)
Listen to an extract
Published: 1867, Kahnt.

• No.1 Drescherlied [Thresher’s song]. Text: Johann Voss.
• No.2 Trinklied der Alten [The Drinking Song of the Ancients]. Text: Emanuel Geibel.
• No.3 Frühlingslied [Spring song]Text: Hermann Hölty.
• No.4 Die Beredtsamkeit [Eloquence]. Text: Gotthold Lessing.
• No.5 Wanderers Nachtlied [Wanderer’s Night-time Song]. Text: Wolfgang Von Goethe.
• No.6 In der Brust [In the Breast]. Text: Heinrich Heine.
• No.7 Soldatenabschied [Soldiers’ farewell]. Text: Hoffmann von Fallersleben.
• No.8 Jägerlied [Hunter’s song]. Text: Ernst Schulze.
• No.9 Abendsegen [Evening prayer]. Text: Michel Weise.
• No.10 Gruß [Greeting]. Text: Emperor Heinrich IV.

Vier Marianische Antiphonen [Four Marian Antiphons] WoO.27 (1868) Listen to an extract
Published: 1999, Edition Nordstern. Text: religious.

• 1. Alma redemptoris mater. Choir: SSATBB.
• 2. Ave regina coelorum. Choir: SATBB.
• 3. Regina coeli. Choir: SSATB.
• 4. Salve Regina. Choir: SSSATTBB.

Kyrie & Gloria WoO.31 (1869) Listen to an extract
Choir: SSATBB. Published: 2021, Edition Nordstern. Text: religious.

• 1. Kyrie
• 2. Gloria

Pater Noster WoO.32 (1868). Listen to an extract
Choir: SSSATTBB. Published: 2004, Edition Nordstern. Text: religious.

Ave Maria WoO.33 (1868). Listen to an extract
Choirs: SSTB-SSTB. Published: 1999, Edition Nordstern.

Zehn Gesänge für Männerchor [Ten Songs for Male Choir] Op.195 (1860-70)
Published: 1876, Kahnt.

• No.1 Fischerlied [Fisherman’s Song]. Text: Friedrich Schiller.
• No.2 Hirtenlied [Shepherd’s Song]. Text: Friedrich Schiller.
• No.3 Alpenjägerlied [Alpine Hunter’s Song]. Text: Friedrich Schiller.
• No.4 Kommt, Brüder, trinket froh mit mir [Come brothers, drink gladly with me]. Text: Theodor Körner.
• No.5 Winterlied [Winter’s song]. Text: Ritter Toggenburg.
• No.6 Sterben ist ein’ harte Buß [Dying is a harsh penance]. Text: traditional.
• No.7 Kosackentrinklied [Cossacks’ drinking song]. Text: Friedich von Bodenstedt.
• No.8 Es stand ein Sternlein am Himmel [There was a little star in the heavens]. Text: Matthias Claudius.
• No.9 Ein König ist der Wein [Wine is a king]. Text: Franz von Kobell.
• No.10 Das walte Gott [May God Grant It]. Text: Johann Betichius.

Zehn Gesänge für gemischten Chor [Ten Songs for Mixed Choir] Op.198 (1860-74) Listen to an extract
Published: 1875, Seitz. Text: Alfred Muth.

• No.1 Frühlingsjubel [Spring cheer].
• No.2 Ave Maria [Hail Mary].
• No.3 Und dann nicht mehr [And then no more].
• No.4 Haidelieder I [Heathland Songs I].
• No.5 Haidelieder II [Heathland Songs II].
• No.6 Im Mondenglanz [In the Moonlight].
• No.7 Stilles Glück [Silent bliss].
• No.8 Schneeglöckchen [Snowdrops].
• No.9 Maitag [May Day].
• No.10 Nachtgruß vom Rhein [Night-Time Greeting from the Rhine].

In dulci jubilo! WoO.41A (1874).
Four voices (unspecified).
Published: 1875, Breitkopf & Härtel. Text: unknown.

Zwölf zweistimmige Gesänge [Twelve Songs for two Voices] Op.114 (1860-64). Listen to an extract
Two sopranos & piano. Published: 1865/68, Forberg.

• No.1 Die Kapelle [The Chapel]. Text: Ludwig Uhland.
• No.2 Frühlingsmorgen [Spring morning]. Text: Justinus Kerner.
• No.3 Glücklich, wer auf Gott vertraut [Happy is he who trusts in God]. Text: Hoffmann von Fallersleben.
• No.4 Gute Nacht [Goodnight]. Text: Robert Reinick.
• No.5 Ich bin dein, du bist mein [I am yours, you are mine]. Text: traditional.
• No.6 Nach diesen trüben Tagen [After these gloomy days]. Text: Hoffmann von Fallersleben.
• No.7 Rosenlied [Rose Song]. Text: Clemens Brentano.
• No.8 Vergißmeinnicht [Forget-Me-Not]. Text: Hoffmann von Fallersleben.
• No.9 Vögeleins Frage [The Little Bird’s Question]. Text: Hoffmann von Fallersleben.
• No.10 Wallfahrtslied [Song of Pilgrimage]. Text: Hoffmann von Fallersleben.
• No.11 Wie singt die Lerche schön [How beautifully the lark sings]. Text: Hoffmann von Fallersleben.
• No.12 Zum neuen Jahr [At New Year]. Text: Eduard Mörike.

Three Songs for High Schools WoO.47 (1871/72)
Published: 1872, Jäger’sche Buchhandlung (these songs were not collectively titled when originally published).

• I. Auf einen verstorbenen Spielgenossen [To a dead Playmate]. One voice. Text: Eugéne Peschier.
• II. Frühlingslied [Spring Song]. One voice. Text: Emil Neubürger.
• III. Der Frühling ist ein starker Held [Spring is a mighty hero]. Two voices. Text: Emanuel Geibel.

Sechs Gesänge von Emanuel Geibel für drei Frauenstimmen [Six Songs by Emanuel Geibel for Three Female Voices] Op.184 (1870-73). Listen to an extract
Ensemble: SSA & piano. Published: 1873, Siegel.

• 1. Nun ist der Tag geschieden [Now the day is departed].
• 2. Sind die Sterne fromme Lämmer [The stars are holy lambs].
• 3. Frühling auf dem Lande [Spring in the Countryside].
• 4. Wo still ein Herz von Liebe glüht [When a heart silently glows with love].
• 5. Leichter Sinn [Levity].
• 6. Morgenwanderung [Morning Walk]. Moderato. C major.

Mandelbäumchen [Little Almond Tree] WoO.56B (probably 1870s-1882).
Two unaccompanied voices. Published: c.1882, Moritz Schauenburg. Text: anonymous.

Six Lieder by Lord Byron WoO.2G (1844).
Unpublished, LOST.

Three Lieder by Julius Scheffel WoO.2H (1844).
Unpublished, LOST.

Sechs Deutsche Lieder [Six German Lieder] by C.O. Sternau WoO.6E (1847)
Baritone & piano. Unpublished. Text: C.O. Sternau - pseudonym of Otto Inkermann. Only two songs in the Mss.

1. Ja, müsste die Lieb’ nicht scheiden [Yes, if only love didn’t have to depart].
• 2. Keine Rose ohne Dornen/Italienisches Lied [No Roses without Thorns/Italian Song]. Published as Op.Op.50 No.2 (see below).

Three Lieder by J.G. Fischer Op.47 (1848). Listen to an extract
Baritone or alto & piano. Published: 1850, Senff. Text: Johann Fischer.

• I. Du weißt es wohl, daß du mein Alles bist [You know well that you are my everything].
• II. Glückselig [Blissful].
• III. Das Ideal [The Ideal].

Two Lieder by Gotthold Logau (Abschied — Heimkehr) Op.48 (1848). Listen to an extract
Published: 1852, Senff. Text: Gotthold Logau - pseudonym of Henrik Glogau.

• I. Abschied [Farewell].
• II. Heimkehr [Homecoming].

Three Lieder by J.G. Fischer Op.49 (1848). Listen to an extract
Published: 1852, Heinrichshofen. Text: Johann Fischer.

• No.1 Stille Liebe [Silent Love].
• No.2 Der Liebe Verlangen [The Demands of Love].
• No.3 Sternenfriede [The Peace of Stars].

Zwei italienische Lieder [Two Italian Lieder] by C.O. Sternau Alto or baritone & piano. Published 1852, Heinrichshofen. Text: C.O. Sternau - pseudonym of Otto Inkermann.

• No.1 Non son rose senza spine [There are no Roses without Thorns]. Composed as WoO.6E No.2 (see above).
• No.2 Felice notte, Marietta [Goodnight, Marietta].

Five Lieder by Emanuel Geibel Op.51(1849). Listen to an extract
Published: 1853, Kistner.

• No.1 Herbstlied [Autumn Song].
• No.2 Die stille Wasserrose [The Still Water-Lily].
• No.3 Im Wald, im hellen Sonnenschein [In the forest, in the bright sunshine].
• No.4 Abendfeier in Venedig [Evening Festivities in Venice].
• No.5 Gondoliera [Gondolier’s Song].

Three Lieder by C.O. Sternau Op.52 (1850). Listen to an extract
Published: 1853, Schlesinger. Text: C.O. Sternau - pseudonym of Otto Inkermann.

• No.I Nun ist es Herbst geworden [Now it has turned into autumn].
• No.II Der Quell [The Spring].
• No.III Im Haine draußen, im grünen Hain [In the grove outside, in the green grove].

Zwei Lieder vom Rhein (Two Lieder from the Rhine] by C.O. Sternau Op.53 (1849). Listen to an extract
Published: 1853, Schloss. Text: C.O. Sternau - pseudonym of Otto Inkermann.

• No.1 Des alten Domes Glocken klingen herüber vom Rhein [The Old Cathedral’s Bells ring from across the Rhine].
• No.2 Dir zum Angedenken will ich fern vom Rhein [I want to remember you away from the Rhine].

Beständigkeit [Constancy] WoO.9P by Carl Reissiger (1849).
Published (Raff not credited as arranger): 1850, Schuberth. Text: unknown. Substantial revision, requested by the publisher.

Des Sommers letzte Rose [The Summer's last Rose] WoO.9R (1849).
Soprano or alto & piano. Published (Raff not credited as arranger): 1856, Schuberth. LOST. Text: English - Thomas Moore, German - unknown. Arrangement of The Last Rose of Summer.

Score of Blondel de Nesle Op.211

Todte Liebe, Cyklus von Liedern und Gesängen [Dead Love. Cycle of Lieder and Songs] WoO.17A (1853-54). Listen to an extract
Published in full: 2024, Edition Nordstern (4 songs published earlier - see below). Originally comprised 12, possibly more, songs.

• I. Ach wüßten’s die Blumen, die kleinen [Ah, if the little flowers only knew]. Text: Heinrich Heine.
• II. Warum mein Liebchen sollt’ ich Dich nach Herzenslust nicht küssen? [Why shouldn’t I kiss you, my sweetheart, to my heart's content?]. Text: Christian Höppl.
• III. Ich hab’ im Traum geweinet [I wept in my dream]. Text: Heinrich Heine.
• IV. Mein süßes Lieb! [My sweet love!]. Text: Heinrich Heine.
• V. Der Abend kam, und leichter schlug das Herz [The Evening came, and softer beat the heart]. Text: Christian Höppl.
• VI. Fahr wohl, fahr wohl [Farewell, farewell]. Text: Christian Höppl.
• VII. Ständchen [Serenade]. Text: C.O. Sternau - pseudonym of Otto Inkermann. First published as WoO.21 (see below).
• VIII. Der Mond kommt still gegangen [The moon rises so peacefully]. Text: Emanuel Geibel. First published as Op.98 No.19 (see below).
• IX. Elfenschiffer [The Water Elf]. Text: Dilia Helena - pseudonym of Theltma Branco. First published as Op.98 No.3 (see below).
• X. Die Nichtigkeit der Lust hab’ ich erfahren [I have known the emptiness of pleasure]. Text: Friedrich Rückert. Mss. contains only text.
• XI. Blätter und Lieder [Leaves and Songs]. Text: Anastasius Grün - pseudonym of Anton von Auersperg. First published as.98 No.4 (see below).

Ständchen [Serenade] WoO.21 (1854). Listen to an extract
Published: 1861, Cotta. Text: C.O. Sternau - pseudonym of Otto
Inkermann. Composed as WoO.17A, VII. (see above).

Sanges-Frühling [Springtime of Song] Op.98 (1855-1863). Listen to an extract
Published: 1864, Schuberth.

• No.1 Das Schloß am Meer: [The Castle by the Sea]. Text: Ludwig Uhland.
• No.2 Vor dem Muttergottesbilde [Before the Image of Our Lady]. Text: Dilia Helena - pseudonym of Theltma Branco.
• No.3 Elfenschiffer [The Water Elf]. Text: Dilia Helena - pseudonym of Theltma Branco. Composed as WoO.17A, IX. (see above).
• No.4 Blätter und Lieder [Leaves and Songs: Spring is all around]. Text: Anastasius Grün - pseudonym of Anton von Auersperg. Composed as WoO.17A, XI. (see above).
• No.5 Leb’ wohl [Farewell]. Text: Adelheid von Stolterfoth.
• No.6 Die Winde wehen so kalt [The Winds Blow so Cold]. Text: Georg Freudenberg.
• No.7 Abendbild [Evening Scene]. Text: Ernst - pseudonym of Matthias Schleiden.
• No.8 Betrogen [Deceived]. Text: Emanuel Geibel.
• No.9 Immer bei dir [Always with you]. Text: Ernst - pseudonym of Matthias Schleiden.
• No.10 Keine Sorg’ um den Weg [Don’t Worry Along the Way]. Text: Klaus Groth. Also as WoO.19A, I. with orchestral accompaniment (see above).
• No.11 Höchster Lohn [Highest reward]. Text: Georg Freudenberg.
• No.12 Der Ungetreuen [To the Unfaithful Woman]. Text: Georg Freudenberg.
• No.13 Müllerlied [Miller’s Song] (1). Text: Johann Vogl.
• No.14 Das verlassene Mädchen [The Abandoned Maiden]. Text: Carl Siebel.
• No.15 Müllerlied [Miller’s Song] (2). Text: Johann Vogl.
• No.16 Die Hochzeitsnacht [The Wedding Night]. Text: Josef von Eichendorff.
• No.17 Ave Maria [Hail Mary]. Text: Ernst - pseudonym of Matthias Schleiden.
• No.18 Mein Herz [My Heart]. Text: Carl Seibel.
• No.19 Der Mond kommt still gegangen[The Moon silently rises]. Text: Emanuel Geibel. Composed as WoO.17A, VIII. (see above).
• No.20 Ihr Bild [Your Picture]. Text: Ernst - pseudonym of Matthias Schleiden.
• No.21 Die Nonne [The Nun]. Text: Ludwig Uhland.
• No.22 Mädchenlied [Maiden’s song]. Text: Emanuel Geibel.
• No.23 Rastlose Liebe [Restless love]. Text: Wolfgang von Goethe.
• No.24 Schön Ännchen [Sweet Annie]. Text: Hoffmann von Fallersleben.
• No.25 Vom Strande [From the Beach]. Text: Josef von Eichendorff.
• No.26 Loreley [I don’t know what it all means]. Text: Heinrich Heine.
• No.27 Abendstimmung [Evening Mood]. Text: Carl Siebel.
• No.28 Der Knabe mit dem Wunderhorn [The Boy with the Magic Horn]. Text: Emanuel Geibel.
• No.29 Schön Elschen [Sweet Elsie]. Text: Hoffmann von Fallersleben.
• No.30 Geständnis der Liebe [Confession of love]. Text: Walter von der Vogelweide.

Song Cycle: Maria Stuart Op.172 (1868-1872). Listen to an extract
Published: 1873, Siegel, Text: Gisbert von Vincke (attributed to Mary, Queen of Scots, Henry Stuart, David Riccio & Chidiock Tichborne).

• I. Klage von Maria Stuart [Lament of Mary Stuart] I.
• II. Klage von Maria Stuart [Lament of Mary Stuart] II.
• III. Klage von Maria Stuart [Lament of Mary Stuart] III.
• IV. Klage von Maria Stuart [Lament of Mary Stuart] IV.
• V. Maria Stuarts Abschied von Frankreich [Mary Stuart’s Farewell to France].
• VI. An die Dame [To the Lady] I.
• VII. An die Dame [To the Lady] II.
• VIII. David Riccio’s letztes Lied [David Riccio’s Last Song].
• IX. Nach der Geburt ihres Sohnes [After the Birth of her Son].
• X. Vor dem Gang zum Schaffot [Before Going to the Scaffold].
• XI. Abschied von der Welt [Farewell to the World].
• XII. Gebet [Prayer].

Eight Songs Op.173 (1868-71). Listen to an extract
Published: 1872, Seitz (2 vols.).

• No.1 Der Heimat Traum [Dream of Home]. Text: Gisbert von Vincke.
• No.2 Herz und Laute [Heart and Lute]. Text: Gisbert von Vincke.
• No.3 Feenruf [Fairies’ Call]. Text: Gisbert von Vincke.
• No.4 Wenn die ersten Rosen blüh’n [When the first roses bloom]. Text: Julius von Rodenberg.
• No.5 Ich küsse dich auf die Wangen [I kiss you on the cheek]. Text: Otto Inkermann.
• No.6 Täuschung [Deception]. Text: Heinrich von Ende.
• No.7 Des Müden Abendlied [Evening song of the Weary Man]. Text: Emanuel Geibel.
• No.8 Sei still [Be still]. Text: Henriette Nordheim - pseudonym of Henriette von Schorn.

Blumensprache [Language of Flowers] Op.191 (1874). Listen to an extract
Published: 1874, Seitz. Text: Gustav Kasptropp. Through-composed.

• Widmung [Dedication].
• Veilchen [Violet].
• Himmelsschlüssel [Cowslip].
• Vergißmeinnicht [Forget-Me-Not].
• Myrthe [Myrtle].
• Rosmarin [Rosemary].

Two Settings of Tennyson’s “Tears, Idle Tears” WoO.47B (1878).
Published: 1879, Kegan Paul (London). Text (English): Alfred, Lord Tennyson.

• 1. Tears, idle tears.
• 2. Tears, idle tears.

Song Cycle: Blondel de Nesle Op.211 (1880). Listen to an extract
Baritone & piano. Published (German & English): 1880, Breitkopf & Härtel. Text: Helge Heldt - pseudonym of Helene Raff.

• No.1 Kreuzlied [Crusader’s Song].
• No.2 Der Braut seines Herrn [The Bride of his Master] (Berengaria von Navarra).
• No.3 Da Cypern erobert war [As Cyprus was Conquered].
• No.4 Vermählungsgesang [Bridal Song].
• No.5 Unter den Palmen [Under the Palm Trees].
• No.6 Vor Jerusalem [Before Jerusalem].
• No.7 Abschied vom Heiligen Land [Farewell to the Holy Land].
• No.8 Die Ballade vom blutigen Gewand [The Lay of the Bloody Vesture].
• No.9 Da der König gefangen war [When the King was Made Captive].
• No.10 Da der König befreit war [When the King was Set Free].
• No.11 Rückkehr in die Heimat [Returning to the Native Land].

Traumlied [Dream Song] WoO.56C (1860s?) Listen to an extract
Unpublished. Text: Hermann Erler.