Performance of  a Piano Concerto by Herr Burgmüller(a young, independent composer). The composition was, particularly as a first effort, quite worthy of praise. But to ist detriment the Instrumentation was too heavy, especially in the second movement where the cello assumed the
role of a second solo instrument, so much so that it took on the appearance of a double concerto.
Herr Burgmüller displayed considerable skill and much taste in his performance.

Music in Düsseldorf.

With much interest we heard on the 13th of this month Norbert Burgmüller's Symphony in c. It had been performed twice last winter,but we wanted to hear it yet again, if possible with a better prepared orchestra. The great originality and astonishing novelty of this symphony, its comprehensibility combined with its uncommon boldness and harmonic richness, its most pleasing character and its many beautiful effects. All this sets it apart from recent works and arouses the greatest interest among lovers of music. Burgmüller's Symphony is extraordinarily pleasing to one and all. With ist publication, the entire musical world will become aware of its beauty. Let us hope that Burgmüller will find a publisher for a venture that can only be of benefit to both.

Concert.

In the First Symphony a more anxious spirit one of the highest nobility tempered by life's experiences appears. But it now appears to me in a different manner: as if his soul fettered unhappily amidst the cares of this earth breaks forth into song directed towards the heavens, its rightful home. The Piano Concerto strikes a similar tone. There too one finds a longing for the firmament, though not as pronounced as in the symphony. This appears most distinctly in the unfinished Second Symphony, his swansong. There all is filled with anxiety, awe, and misgivings. In the sounds of the various instruments follow one another in a tantalizing manner. The oboe tries to tell a tale, but then the violins often interject their own comments. During the entire first movement the anxious expectation never ends. The tension is greatly increased, but the long awaited magical incantation is not revealed. Only in the Andantino does the oboe express misfortune, while the violins, basses, and flutes sob in its midst, and the tale they tell is that of the death of a young artist. And when this piece was finished, then did the artist truly die. The opportunity to depict in tones the death„struggle in the minuet and the heavenly transfiguration in the finale was denied him. Rather, he was to experience them himself.

Norbert Burgmüller

Since Franz Schubert's early death, none has been more painful to us than that of Burgmüller. Fate, instead of thinning the mediocre multitude which surrounds us, has taken from us one of our greatest artists. Franz Schubert gained some recognition during his lifetime. But Burgmüller was known to only a small circle, and even there perhaps known more for his eccentricities than for his musical abilities. So it is our duty to render at least to the dead the hommage not given while he was alive,though perhaps in part his own   fault. In fact we are familiar with only a small portion of his work: a symphony which, though only encountered briefly, still fills us with joy; a book of songs which the Neue Zeitschrift für Musik has already praised; a sonata, a rhapsody, and another book of songs, all three only recently published. But these works are sufficient for us to mourn his loss deeply. His talent possessed such brilliance that only the blind could have missed it.I believe that his bountiful melodic charm would have earned him a broad popularity, even though his truly artistic skills would have been less recognized. Born like Beethoven on the German Rhine, perhaps his surroundings early influenced him. It is also likely that the lively artistic life nearby in Düsseldorf was not without its effect. Later he went to Kassel. The influence of Spohr (with whom he studied) though not to be discounted seems only slight in those of his works known to us. Even in his days as a student,
he was independent. Spohr himself concluded their study, so it is said, with fond hopes for Burgmüller's success. And mention should also be made of Hauptmann, both learned and imaginative as a composer for he too was a teacher of Burgmüller. The publisher who has additional compositions by Burgmüller in his possession should quickly make them available. He will not regret it. It often seems to me that publishers are like fishermen. They cast their nets, little knowing what fortune may bring their way. Their harvest is mixed, large and small, until the weight of their haul indicates the presence of an unusual catch: a priceless treasures from the depths. Burgmüller was such a treasure.

Norbert Burgmüller.

We mourn the death in their prime of gifted artists. Those with less talent are mor easily forgotten. We have already spoken about Norbert
Burgmüller. We heard one of his symphonies - a marvelous poem - which made us eager to hear it agein. Since that time, more of his earlier
works have appeared, and we welcome them, although, as would be expected, with some sadness. Had they been published earlier, they
would have been of comfort to their composer and perhaps have increased his reputation. The Sonata will endear Norbert even more to
all proficient piano players. It is an excellent piece - a sonata such as is rarely encountered - and one which we hope will become familiar
to good pianists. It is a work filled with life, and is esteemed the more it is played. In short, many who have had the opportunity to become
familiar with it have pronounced it to be exceptional. The Rhapsody is quite different in nature, filled with youthful emotion. Some will find
it welcome - others, peculiar and less attractive. At any rate there is imagination in this little piece.

I have discovered a curious rhapsody by Norbert Burgmüller, which is deeply moving. Some of his songs are splendid too. You will enjoy getting to know these works if you don't know them already.

Bonn.

A Concert in f sharp minor by Norbert Burgmüller (who unfortunately died far too young) aroused our greatest interest - an unusual piece, very poetic
in nature approaching the fantastical, highly original, yet recalling Schubert at times. It seems so fresh , so bountiful with melodic charm, that is approp-
riate that we take this opportunity to point out the noble and beautiful goals of which it is representative. We regard it as an obligation at opportunity of this Concerto, his individual lack in formal rounding we gladly each living composer to check wanted, that us again once a so freshness by an abundance of golden melody would offer refreshing tone work, on which usually still unpublished compositions.

Deutsche Musikzeitung, 1860.

Inherited compositions of Norbert Burgmüller.

It is a very grateful enterprise of the Kistner publishing house that it through publication of some works, which still several of the same composer are to follow, the name and the wothy inheritance of an extremely talented, too early deceased artist fall and oblivion to protect wants. Only little was from Norbert Burgmüller within his lifetimes come into the public. Insignificant was not it; such did not come from his feather, it was only too small only at quantity around itself and the author to prepare a firm place; and nevertheless it must have found its acknowledgment because one Norbert Burgmüller heard only always express the name with attention. He was a finished piano and violin player; on both instruments quite efficiently trained; less in way of a virtuoso, but so, as one can only wish the musician for making usic. As pianist in detail and turned in the sight of each strange score, as complicirt as to be liked. Only 26 year old, many times in suffering, he has nevertheless much composed, and in this everything no trace from illness is to be found to.It is everything that he produced poetically and artistically healthy and of most natural shape, of most beautiful even measure and splendid facture.
The piano concerto was publicly played by Mendelssohn in Düsseldorf with preference, it is a importantly effective, for the player not less grateful composition. Of the two Symphonies the second, - as composition, like us seems, still importantly more highly standing than the first, - unfortunately unfinished, the final movement is missing, consists of the first three sets, Allegro, Adagio and Scherzo; the latter very much implemented and important set is located however in the main key and becomes also the whole quite well to lock can. And hoped, that this is to be wished, with those which can be still expected, works which retained their freshness against 30 years as manuscript convenient, may be by the Concert institutes to be considered and to the performance brought. It can on the miner of Falun remind, that in an alum pit buried and died, after long years again excavated, by the mineral
in a juvenile manner fresh appearance is retained, by its bride recognized, who now as old oman by the sprag near-varying young the loving remained again finds. So some later developed as the com- positions Burgmueller's goes now at the sprag or has itself to eternal peace put; he, long the deceased, freshly steps us in his kept works and young against.

Correspondences.

The concert evening of yesterday brought us the second Symphony of Norbert Burgmüller, those and both because of the personality of the composer and because of its own worth of completely special interest was. And now the work not something anxious and forced has, as one should supose from the life course of the unfortunate composer, rather those all-most beautiful rounding, by on the bold passionate upswing of the Allegro, melting soft
Andante follows and after it the whole with the liveliest most cheerful mood the joke one locks, all movements develop with the largest clarity and ease. And besides lies in the many charmful melodies, so lovely into one another it runs off, a so warm feeling that one in particular with the Andante to tears to be agitated could. One will not too much say, if one states that itself our friend with this works the largest componsers showed equally.

Concert.

Now a quarter century ago the deceased Burgmueller's second Symphony is an efficient work, which wetribut gladly all acknowledgment. Completely excellently beautifully and effectively, - nearly igniting, the third set is, the Scherzo. Liked very to us, this work knows to have learned, and would be certain its repetition at opportunity all music connoisseurs desirable.

Correspondence.

As novelty became us from the orchestra a Symphony (D, existing in three sets) of Norbert Burgmüller demonstrated, that one in former times of youth deceased componser, his gifts into this quite valiable work unmistakably to day steps. The latter out their interesting execution draws by beautiful river and blows motives and treatment sometimes at Beethoven reminds. Special acknowledgment found the central set.

Concert.

The Symphony, of which unfortunately only the three first sets, (also third are completed was it only partially and became from the Trio after Burgmüller's outlining of Robert Schumann in instrumentation accomplished) marks Burgmüller, then exaggerated this to also sound likes,
to an equal one of our musical titan; Beethoven would have his without shyness full name under this masterpiece to set can.

         Orchestral Union.

         Of the concert the chief point of interest was an overture by a composer wholly new to us, Norbert Burgmüller. His name is often mentioned with
         interest among German musicians and in German musical journals. This overture belongs to an unfinished opera and we found it really interesting,
         largely and well laid out, richly instrumented; beginning like a symphony and the principal theme, which set in later, striking in themselves and well
         carried out. We hope to hear it again.

 
                                                                                  Dwights Journal of Music, 1866.

          Concerts.

          The chief interest of course centred on the unfinished Symphony in D (No.2, op.11) by Norbert Burgmüller, who, full of genius and of promise,
          was cut off at the early age of twenty-six in the year 1836. One feels a certain sad, elegiac character throughout the work, in the quick
          movements as well as in the Andante, which is so intensely sad, and yet so purely beautiful, so fascinating in spite of its lenght, so Schubert-like
          (all must have felt). The themes are fine, the development logical, the instrumentation varied and effective. The symphony was heard with so deep
          an interest, particularly the Andante, that it deserves repetition some day.