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:
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Notice within Klassik Heute, 10/2001
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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
Copyright by Klaus Zehnder-Tischendorf 2001- 2002