When Schoeck finished the scoring of Dürande in early October 1941, the premiere was still a long way off. One man at least, Corrodi, had summoned up the courage to tell him what he thought of Burte's text. Early in the year he had offered to write the words into the score for Schoeck, was horrified at its “cataract of trivialities,” and wrote in his diary:

It is difficult to reconcile this Schoeck, content with a good line “now and then,” with the man so admired by Hermann Hesse and others for his literary sensibility. The only plausible explanation is that he felt bound to Burte by his quarter-century-long debt to their patron Reinhart. Nothing boded well for the future of the work.