FRIENDS
Christian Dietrich Grabbe (1801-1836)
Apart from the writings of Robert Schumann, it was substantial the friendship with Grabbe, that
Norbert Burgmüller in 19th century helped to admittingness. On the comunity of the two outsiders
was reported in detail in the rainbow press of the time. And until today Burgmüller has for some only
the friend of the Drunken Shakespeare (Heine) remained. About the real circumstances of the relationship between Grabbe and Burgmüller, however, still prevails no clarity. Some authors hold
on to the reports of the contemporaries, others, as if they would have Burgmüller from a kind of bad handling purely to wash, held the relationship only for a loose and superficial acquaintance, which forbids the term friendship. The truth might like so often lie in the center. There can be no doubt, that Burgmüller - with exception of perhaps Spohr and Mendelssohn - with no character head of the rank
of Grabbe otherwise closer relations maintained. And it is regretable that the two cam only 1835 each other near, when the creative zenith of Grabbe long was exceeded. He has still in Düsseldorf works finished, which however not belong to his best creations. An example is Aschenbrödel (1835).
Grabbe would not have been nevertheless able to supply to his friend with a libretto himself, like that
actually for Burgmüller written Cid would have proven, at that time as impossible to be set to music!
A lyric-fantastic plot on the level of Joke, satire, irony and deeper importance, would have perhaps
Burgmüller - under other circumstances - to a further masterpiece to inspire know. So we have that persiflage of very doubtful importance, in addition to the urgent, on Grabbe's part not showing particular knowledge regarding of Burgmüller's music, obituary (see memories).
Wolfgang Müller von Königswinter (1816-1873)
The most important biograph of Norbert Burgmüller, the physician and opportunity poet Wolfgang Müller von Königswinter, as a Wilhelm Müller was born. When he felt pushed himself to publish a small volume of poems, he selected the above artist name, in order to prevent mistakes with the author of Die Winterreise. It was a misfortune for Burgmüller, with a hobby poet as close friend to have been damned (see Lyrik) . The libretto Der Liebesring of Müller, written for Burgmüller, astonishes still today by extreme harmlessness - with screwed verses. Logically Burgmüller composed a halfway useful text of Müller only with the late Frühlingslied and to his friend dedicated no work. Therefore had after Burgmüller's death, Müller to beg others for manuscripts of the composer himself. Although the friendship between Burgmüller and Müller probably proceeded more from the latter, then Müller's Erinnerungen an Norbert Burgmüller, which were published by Schumann 1840 in the NZfM,
until today an important source remained nevertheless, which should be enjoyed however also with caution. In far higher extent this still applies to the 1861 published Erzählungen eines Rheinischen Chronisten "Karl Immermann und sein Kreis", in which Burgmüller a principal role was to play.
Already during lifetimes of Müller, this mixture of memories and free fantasy was sharply
criticized. It forbids itself today consulting this writing as a source for the biography of Norbert
Burgmüller. Besides the one in the lyrics section, Müller wrote shortly after the death of Norbert
the poem cycle Todtenblumen für Norbert Burgmüller and in later years the novel Ein Lied.
As undoubted earnings of Müller however his attempts are to be regarded, for the works of Burg-
müller with publishers and interpreters to have occurred. Possibly Müller affected also his friend
and patient Robert Schumann, himself in 1851 to dedicate to the addition of the 2nd Symphony of
Burgmüller. Müller further seems to have made in 1861 on switching of Clara Schumanns also the attempt, Joseph Joachim to interest in the Symphonies of Burgmüller. Over the possible success
of such efforts is unfortunately to receive no source material, while we know that Clara Schumann
herself not for theperformance of the piano concerto could decide, which Müller had recommended
to her.
Copyright by Klaus Zehnder-Tischendorf 2001 - 2002