FORUM


        The first symphony is completely dark and threatening.  Already the first movement gives certification
        of large suffering and deep pain, as if there were no more luck in the world.  This negative feeling
        leads in the second set nearly to resignation.  There a very unfortunate drags himself forward.  In
        the third set there is then rears up, a nearly agressive resistance against the dark feelings.  I believe
        the flutes introduce that. In addition, there is still no release, which remains here threatening in tone.
        The fourth movement is to my judgement a victory over darkness.  The music becomes lovelier and
        also less hectic.  Burgmueller uses within this set more wind instruments:  flutes, trumpets, trombones.
        If I‘am right, this symphony in victory rejoicing and life affirmation ends. Burgmueller wrote this
        symphony 1831-1833.  Does it give there biographic connections with the broken relationship with
        Sophia to Roland 1830?  Anyhow, I would call this Sinfonie the 'tragic one'.
        The second symphony is completely different.  It gushes in joy of life and takes off, where the first
        ended.  Already the first sounds give certification of nature love, opening the whole sky. The sun is
        shinning and still know, how warm it became me in the belly as heard that for the first time.  Each
        mark brings me Schumanns ' Rhenish ' into sense.  But I must think also sometimes of Brahms, so
        for example with a flute passage in the first movement.  Did Brahms know this symphony?  One always
        says, that the second symphony of Brahms must be called  his 'Pastorale'.  There I‘am different opinion,
        but the second of Birgmüller one could call justly his 'Pastorale'.  In the second movement (Schubert!),
        I do have to think of Eichendorffs be suited-being suited anything always, who without concerns and
        merrily the Rhine along to Italy moves.....  Sadly the symphony is unfinished.  But in which way should
        have Burgmueller finished it?

      Contributed by Haarie Leenders (Heerlen,NL) in May 2001



 
        Just published within the journal Klassik Heute the following article on Norbert Burgmüller:
 
 


 
 


 
 



 
 


 

Notice within Klassik Heute, 10/2001




 
 


 

Advertisement for the Concert with Songs and the Rhapsody
in b minor op.13 by Norbert Burgmüller.




 


Performances of the works of Norbert Burgmüller in 2001:
 

String Quartet No.4 in a minor op.14

Mannheimer Streichquartett
Kempten, 11/1/2001
 

Duo for Clarinet and Piano in E flat major op.15

Angela Hedrick, Clarinet; Elizabeth Pridonoff, Piano
Rice (Ohio), 2/18/2001

Martin Carpentier, Clarinet; Louise Lessard, Piano
Quebec, 2/25/2001

Jennifer Beaver, Clarinet; Trisha Solper, Piano
Minot (North Dakota), 3/1/2001

Julie Vreman, Clarinet; Kevin Loucks, Piano
Iowa, 5/29/2001

Anthony Pay, Clarinet; Folco Vicchi, Piano
Chigiana (Italien), 7/18/2001

Mark Walton, Clarinet; David Müller, Piano
Clarence (Australien), 9/2/2001

Adam Pease, Clarinet; Emily Lu, Piano
Palo Alto, 10/7/2001

Fernando Dominguez, Clarinet; Tonatiuh de la Sierra, Piano
Mexico City, 10/14/2001

Lesley Schatzberger, Clarinet; Richard Burnett, Piano
Cobe (GB), 10/24/2001
 

Rhapsodie h-moll op.13

Christoph Hammer, Piano
Kassel, 8/14/2001

Petra Luteijn, Piano
Utrecht,11/3/2001

Matthias Petersen, Piano
Detmold, 11/25/2001

Petra Luteijn, Piano
Utrecht, 12/7/2001
 

Ausgewählte Lieder

Ineke Vlogtman, Soprano; Annemieke van Prooijen, Piano
Wageningen (Niederlande), 1/20/2001
Hulshorst (Niederlande), 1/28/2001
Groningen, 1/29/2001

Rufus Müller, Tenor; Christoph Hammer, Piano
Kassel, 8/14/2001

Dorothea Geipel, Soprano; Matthias Petersen, Piano
Detmold, 11/25/2001

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Copyright by Klaus Zehnder-Tischendorf 2001- 2002