In the meantime Raff had found his domestic fate in Doris Genast, an actress, grand-daughter of Goethe’s favorite actor. This young lady having accepted an engagement in Wiesbaden, the composer followed her thither in 1856. He speedily became the most popular music teacher in the city, but his compositions still failed to find a ready market. Nevertheless he employed his spare hours unceasingly in writing. In 1859 he and Fräulein Genast were married, and a daughter was the result of their union. Previous to his marriage he composed in 1858 his second violin sonata and the incidental music to “Bernhard von Weimar,” a drama by Wilhelm Genast. The overture to this drama became a favorite and was played frequently in many parts of Germany. In the summer of 1859, however, he began the work which was to establish his fame. This was his first symphony, “In the Fatherland.” It was ready for the publisher in 1861, when the composer was informed of the prize offered by the “Society of the Friends of Music of the Austrian Empire” (“Gesellschaft der Musikfreunde”), for the best symphony offered in competition. Raff sent in his new work, and in 1863 a committee consisting of Ferdinand Hiller, Carl Reinecke, Dr. Ambros, Robert Volkmann and Vincenz Lachner adjudged it the best of thirty-two compositions. Other large works followed, and their success enabled him to give up teaching to devote himself wholly to composing. No artist’s life shows more plainly than Raff’s the result of escape from poverty’s iron control. Hitherto he had written copiously for the drawing-room, but now he sought to produce works wholly artistic in purpose. His retirement after the beginning of the year 1870 was almost idyllic, being broken only by the visits of fellow artists. It is impossible to agree with the oft-repeated statement that his best works date from this period, for the beautiful “Im Walde” (“In the Forest”) symphony appeared in 1869; but there is every proof of a higher purpose in the compositions after 1870 than in the majority of those originating earlier than that year. Perhaps, too, Raff’s lack of business ability may be accepted as an evidence of his artistic sincerity. For his first, second and fourth symphonies he received no cash payment; for the third (“Im Walde”) he got sixty thalers, the same amount being paid him again, when the work was sold to a French publisher. Thereafter, however, he seems to have acquired courage enough to ask fair prices for his works.