RECOLLECTIONS
 

 
 

That summer Norbert Burgmüller returned from Kassel. Count Nesselrode-Ehreshoven, a great lover of music and admirer of Burgmüller's talent, had supported him there for several years while he studied with Spohr and Hauptmann. Burgmüller--poor, lonely, and ill (he suffered from epilepsy) - nonetheless greatly attracted me by the depth of his temperament and his marvelous, musical genius. Although his somewhat dubious lifestyle presented obstacles, an intimate and friendly relationship always existed between us. For a while I had even hoped to keep him from bad influences, but unfortunately that did not happen.

Scarcely a week has passed since we returned home together one evening from the theatre.
He said that he was leaving the next day for a music festival or concert in Aachen (I am unable to recall his exact words, but surely would have paid greater attention had I known this would be our last conversation), and that he would return in a fortnight. Norbert - you have not kept your word. You traveled much farther, and have not returned. Yes, you were completely different from other people, who on closer inspection only appear more common. Many of the rabble misjudged you--because you were too modest. Burgmüller's well-known symphony, his Piano Concerto (dedicated to his noble patron, Count Nesselrode) are better than a thousand operas based on antiquated texts and praised to the skies in idiotic journals. He accomplished a great deal under trying circumstances. And there are still many manuscripts to be examined, including an unfinished opera ' Dionysius'. May his final works appear in print. They are surely good. And how could it be otherwise? As long as I knew him, he never spoke a false word. For truth is the basis of the finest in art, and all exceptional spirits strive for it.
It passes, it dies so much worthy - one could wish sometimes to be also in that society.

        You mentioned Norbert Burgmüller in the Zeitschrift. I knew him. I met him in Cassel at Spohr's on
        Pentecost Monday in 1830. He (Burgmüller) invited me to  go to Wilhelmshöhe to see the fountains
        and water displays. My father stayed in Cassel to arrange a concert while we (some theatre people
        were also part of our group) merrily went on our way to Wilhelmshöhe. At that time I was not familiar
        with Burgmüller's extravagant humor - now I am. He spoke a great deal about a piano concerto in -
        if I am not mistaken - f sharp minor. He wanted to play it for me later. In W. we soon grew tired of
        the water display, and my companions turned their attention from water to the popping of corks.
        Wine was their interest. I was too young to share their enthusiasm, and contented myself with coffee
        and cake. After we returned to Burgmüller's room, I played his concerto, but my only recollection of
        it is a beautiful tutti and wonderfully original arpeggio passages. We parted in a very friendly manner,
        and when I arrived at my hotel, my father told me he had rented a carriage and that we would leave
        first thing in the morning. Since then I have heard nothing more of Burgmuller, but from my contact
        with him I realized that he was in all respects an extraordinary person.

            Norbert Burgmüller was the son of that amazing character who makes an appearance in the
            Goethe-Zelter correspondence. A musician of the old school, clever and droll, fond of good
            food and drink, in many ways amusing--such was Burgmüller's father. The entire family ate from
            the same pot in which the meal had been prepared; plates were regarded as superfluous. This
            was the household in which Norbert was raised and from which he developed that fondness for
            easy companionship which was so detrimental to him. His talent was apparent at an early age.
            After the death of his father he studied in Kassel with the learned contrapuntist Hauptmann and
            established an intimate relationship with Spohr. Spohr loved him dearly, and had the highest
            expectations for him. In Kassel Burgmüller received the most thorough of musical training. After
            returning to Düsseldorf, he received financial support from Count Nesselrode, and supplemented
            it by giving lessons. At the same time, he wrote music. Nature had provided him with a bountiful
            melodic gift; his musical skills had been strengthened by study with Hauptmann.
            In Kassel he wrote his first Concerto, a work of great difficulty, and somewhat melancholy in nature.
            The First Symphony was created in Düsseldorf. It is a piece rich in harmony and new in thought.
            He then composed part of an opera, but abandoned it. This was a work which would have been
            comprehensible to all, although there were less unusual elements in it as in the symphony.
            Songs - rich and deep in emotion -- followed, as well as an admirable string quartet and three
            movements of a second symphony. What he composed was pervaded with a deep soulfulness -
            beautiful and reflective, yet also often filled with wit and humor. He never wrote a note for its own
            sake. Each seemed perfectly in place. He preferred to leave a piece of music incomplete rather
            than imperfectly finished. That was the case with the fourth movement of his Second Symphony,
            and his response when asked about it was tragi-comic: "It still has not come to me."
            In May 1836 Norbert traveled to Aachen in order to cure a longstanding malady. Frail since
            childhood, he had become epileptic. It was a great shock to us when we learned that he had been
            found dead in one of the medicinal baths.

Norbert Burgmüller returned to Düsseldorf in the summer of 1830. His reputation was that of the most gifted of Spohr's students, and he brought with him a number of compostions which he shared with us. His Piano Concerto was well-received, as well as a number of piano pieces and some songs which were sung everywhere. Burgmüller's amiable temperament soon drew me towards him.  But I should point out that his nature was not one which became familiar at the first meeting.  His whole outward appearance did not attract attention; he always dressed simply, for example.  Nor was there anything unusual in his conduct. He had grown tall and lanky, and he wasn't particularly graceful. But his quiet and melancholy demeanor made him appear aloof.
As you came to know him, it was not difficult to discover his warm and lively temperament. His beautiful speaking voice provided a key to his nature. One was also struck by his beautiful, deep blue eyes and noble forehead (but his nose was ordinary and the mouth sensual). His face became unusually expressive during a musical performance, depicting every nuance. His own compositions stayed in his head for a long time before being put on paper. Even among friends, if pre-occupied by musical thoughts it was not uncommon for him to sit in silence for hours. Then, as soon as he had finished, he became lively and full of good humor. In writing out his compositions, the result was always neat and clean; it was clear that all had been thought out well in advance. From the start, too, one was struck by the originality of his works: always substance and never mere affectation.

My parents arranged for me to study piano, and my last teacher was Norbert Burgmüller. At that time he was known as a composer of songs and a symphony, and he soon was like a member of our family. This quiet young man (the poet Grabbe once remarked that Burgmüller could be silent in seven different languages) was a welcome member of our circle. After a lesson he sat on the sofa, dreaming, reading, or chatting with us. We were charmed by him - tall, lanky, shy, as unworldly as a child. He  joked with me, and showed a warm affection for us all. I was especially honored by his dedication to me of six of his most beautiful songs. We all regarded Burgmüller at that time as one of the finest musicians in Germany - but these hopes were soon to be dashed by his early death.

I still remember myself that Norbert Burgmüller, a young ingenious musician, who in contrast
with the musical at that time associate Düsseldorf and therefore occasionally from them
scoffed, Mendelssohn with enthusiasm supported, on an early morning - enough in such a way
our wonderful nights usually lasted - into such a condition of excitingness was, that he like mentally a  drunk person, by me to his house had to be conducted. Burgmüller - who really in the most intimate musical relationship to Felix stood, although he often shook and vibrated him that he may awoke and on the passable way remain - during such a night  course suddenly stood still, turned to moon and stars and swore to himself , Felix so soon not yet again to himself take, his terrestrial mission would not be fulfilled yet, to for a long time it anyway would not last.
Who could have believe at that time that the word of an inspired starlooker and moon abuser
addicted itself so soon it fulfill will, and that also he his free taken over mission in their delimitation
and modesty, the predecessor of Mendelssohn's to be, not enough more will follow. Few years afterwards Burgmüller died, after his own confession by Felix only on the correct way of the
realisation as a human and as an artist led, one sudden death in Aachen; in any respect a much
too early loss. Burgmüller's death caused me great sorrow. In vain I have under my papers after a wonderful letter of Mendelssohn searched, which he wrote me upon that for both of us sad event.