Norbert burgmuller biography sample

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Norbert Burgmüller

String Quartet No.4 in a minor, Op.14

Norbert Burgmüller (1810-1836) was born in the German city of Düsseldorf where his father was the city music director. After studying locally, he went to Kassel where he studied with violin and composition with Louis Spohr. Plagued by illness and personal problems, he led a retiring life as a violin and piano teacher. He did not compose a great deal, but his last works attracted the attention of Robert Schumann, who at the time of Burgmüller's death, commented that the loss to music was almost as great as that caused by Schubert's death. Schumann championed Burgmüller's music and completed his Second Symphony. Burgmüller composed four string quartets, the first three were during his student days with Spohr. His Fourth String Quartet was composed in 1835, but was only published in 1844 eight years after his death, in part through Schumann's influence. Apparently, Schumann, who was quite taken with the Fourth Quartet, did not deem the earlier ones worth his effort as they remained unpublished until recently.

The opening movement, Allegro moderato, begins in dramatic fashion with a series of powerful chords. The main theme does not immediately appear until after a series of stormy, downward-plunging passages in the violin. It is followed by a lyrical melody. The rest of the movement alternates between the powerful and dramatic outbursts first heard and the lyricism of the main subject. A lovely Andante follows, it is an amalgam of a romantic folk melody and a religious hymn. The Tempo di Minuetto which comes next  stands out by virtual of its heavily accented theme. The light-hearted Allegretto con spirito finale recalls the music of his teacher Spohr.

Our new edition is based on the original 1844 Hofmeister edition. We have corrected mistakes and added rehearsal numbers. Our edition is the only edition which can truly be called a performing edition as the

Norbert Burgmüller’s early death in 1836 at the age of 26 was greatly lamented by his famous contemporaries Mendelssohn and Schumann, the latter comparing the tragedy of his death with that of Schubert. He was considered a major talent, and he left a substantial oeuvre of orchestral, vocal and instrumental works. This CD features his songs, and the grand scale Piano Sonata in F minor Op. 8 in the style of Weber and Hummel. His songs remind us of Schubert in their freshness and naturalness, though not without personal touches in some of the more daring modulations. Recorded in the beautiful acoustics of the Villa Contucci in Montepulciano, by Eleonora Contucci, soprano and veteran fortepianist Costantino Mastroprimiano, playing a superb Graf piano from 1826, since its build, in the possession of the Contucci family. Norbert Burgmüller may have died at the tender age of 26, but during his short life he authored a significant number of works that have earned him a place among the foremost composers of the early 1800s.

Among his admirers were Schumann and Mendelssohn, the former commenting on how, ‘following Franz Schubert’s death premature death, nothing could be more painful than Burgmüller’s. Indeed, Burgmüller compares most clearly to Schubert in the lieder repertory, with each composer opting for similar subject matter and poetic diom. Generally more contained and abstract in atmosphere than those of his contemporary’s, the former’s songs reveal styles that are typical of Schubert’s compositions (especially Opp. 3, 6 and 10) but which anticipate the Austrian’s later lieder through their daring modulations and close alliance between words and music. Culminating in the Frühlingslied – a gem of a piece with a serene, spring‐like atmosphere – these songs give way to the final work on the disc, the Piano Sonata in F minor Op.8, whose first movement touches on Spohr’s style and whose Finale is a model of virtuoso élan.

Burgmüller may not exactly be a household nam

Apart form his piano compositions, Burgmüller also composed the music for some ballets.

The full title of Burgmüller’s Opus 100 is ‘25 Easy and Progressive Studies, Composed and Fingered expressly for the Stretch of Small Hands’. It was published in 1851, and his latter work Opus 109 entitled ‘ 18 Characteristic Studies, Providing a Continuation of the Easy Studies’ was dedicated to his friend, Stephen Heller.

The pieces become increasingly difficult as the set progresses.

La Candour (Candour) - also called Sincerity is in C major, the melodies are mostly within the span of the five fingers and there is little thumb crossing. It has a moderate tempo, lyrical writing and emphasises legato and inflection.

L’Arabesque (Arabesque) is in A minor, has a marking of Allegro scherzando), the melody is present in both hands and there are accompanying chords. A popular piece containing rapid mostly five-finger patterns which the player must control evenly. There are some position shifts however these are generally easy to accomplish.

La Pastorale - is in G major, has a marking of Andantino and dolce cantabile and is in 6/8. It has a reflective and refined quality and requires a quiet accompaniment.

La Petite réunion (The Small Gathering) - is in C major using thirds and sixths and requires a relaxed wrist.

Innocence - is in F major, contains semiquavers, scales, finger changes, slurs and phrases of different lengths. It requires evenness in the touch and helps develop facility in the right hands.

Progrés (Progress) - is in C major, contains a da capo repeat and a contrasting middle section. There are many passages where the hands are a tenth apart playing scales. The player needs to adhere to different articulations present in the piece.

Le Courant limpide (The Clear Stream) - is in G major and contains triplets. The player is required to voice within the right hand and also maintain the murmuring effect throughout the piece.

La Gracieuse (W