This site requires Javascript to be turned on. Please enable Javascript and reload the page.

The Digital Baermann

D-Bim

List of cited sources held at the Staatliches Institut für Musikforschung - Preußischer Kulturbesitz, Berlin.

This page is referenced by:

Heinrich Baermann to Giacomo Meyerbeer, 11 September 1830 From Heinrich Baermann, München, 11 September 1830
To Giacomo Meyerbeer

Source D-Bim. No digitisation currently available.
Transcription Meyerbeer, Briefwechsel und Tagebücher, bd. II 104-107.

Summary
p.104: Baermann expresses the wish to see Meyerbeer in Munich.
p.105: Baermann reports aborted plans to perform a cantata by Meyerbeer in Munich and reports the likelihood of it being rescheduled, as the King has asked to hear it and the poetry on which it is based has already been heard several times in combination with a composition by Stuntz. He encourages Meyerbeer to write an opera for Munich and assures him the conditions would be highly favourable. Baermann describes how he feels unfulfilled as an artist and has little opportunity to share his talent.
p.106: Baermann describes the arrangements he has made of operas and quartets for three clarinets and three clarinets plus basset horn, in order for musicians to learn better the whole opera and ‘to give young musicians a sense of their instrument’s own purpose (singing) and so that they may also know and appreciate chamber music’.
p.107: Baermann reports that Meyerbeer’s brother has decided to spend the winter in Munich and that he has therefore postponed his planned trip to Venice and Milan.
Extract: Heinrich Baermann on his teaching philosophy
"Was mich betrifft, so bin ich so glücklich Dir sagen zu können daß ich im Besitz einer lieben verständigen Frau, zwey, nicht talentlosen Söhnen und einer Tochter, als Gatte und Vater mich höchst beglückt fühle, als Künstler aber fast lebendig Tod bin, denn mit Ausnahme daß ich in einigen Opern accompagnire wird mir keine Gelegenheit mein bischen Talent an Mann zu bringen, und da es seit einige Zeit hier zum Sistem geworden zu seyn scheint, diejenigen die das wirklich bessere in der Kunst beabsichtigen und in diesem Sinne sich frey über alles äußern, nach und nach zu entfernen, so habe ich es für gerathen gehalten, mich in mir selbst zurückzuziehen und durch Arbeiten einst der Welt zu zeigen, daß ich den Zweck meines Daseins erkannt, und meine Zeit nicht müßig zugebracht habe; so sind fast gegen 30 größerer Clarinett Compositionen von mir für drey Clarinetten arangiert worden, und zwar so daß jede derselben gleich bedacht ist welches den Zweck hat jeden einzeln Spieler, parziel das ganze vorzuführen, um es dereinst allein im großen urn so leichter ausführen zu können, so habe ich auch, um den jeden Blaseinstrumentallisten verderblichen Hang zu den tollsten und abgeschmacktesten überwündungen von Schwierigkeiten einen Damm entgegen zu setzen, einen großen Theil von Opern als„Euryanthe“,„Crociato“,„Vestalin“,„Joseph“,„Macbeth“ etc für drey Clarinette und Bassethorn arangiert um den jungen Musikern dadurch Sinn für die eigendliche Bestimmung ihres Instrumentes (dem Gesang) beyzubringen, und damit sie auch die Kammermusik kennen und würdigen lernen, sind von mir, für eben diese Instrumente die 10 Mozartsche einige Haydn, und Bethovensche Quartetten arangiert worden und so ausgerüstet denke ich mit mein bischen Erfahrung und Talent mir wol einen Wirkungskreiß zu verschaffen der mir den einmal als Künstler in der Welt eingenommenen Plaz für immer sichern wird."

"As for myself, I am so happy to be able to tell you that I am in the possession of a dear, intelligent wife, two not untalented sons and a daughter, I feel most happy as a husband and father, but as an artist I am almost the living dead, for with the exception that I accompany in a few operas, I have no opportunity to bring my little talent to man, and since it seems to have become a system here for some time to gradually remove those who really intend the better in art and in this sense express themselves freely about everything, I have thought it advisable to withdraw into myself and show the world through work that I have recognised the purpose of my existence and have not spent my time idly; Thus I have arranged almost 30 major clarinet compositions for three clarinets, in such a way that each of them is treated equally, the purpose being to present the whole piece to each individual player, so that one day it will be all the easier to perform it alone in the larger ensemble, I have also, in order to put a curb on the pernicious tendency of every wind instrumentalist to the maddest and tawdriest excesses of difficulty, arranged a large number of operas as "Euryanthe", "Crociato", "Vestalin", "Joseph", "Macbeth" etc. for three clarinets and bassethorn in order to give the young musicians a sense of the proper purpose of their instrument (singing), and so that they also learn to recognise and appreciate chamber music, I have arranged 10 Mozart, some Haydn and Beethoven quartets for these very instruments, and thus equipped with my little experience and talent, I think I will be able to create a career for myself that will secure me the place I have once occupied as an artist in the world forever."

Post-edited Deepl translation
Heinrich Baermann to Giacomo Meyerbeer, 18 February 1839 From Heinrich Baermann, Paris, 18 February 1839
To Giacomo Meyerbeer

Source D-Bim. No digitisation currently available.
Transcription Meyerbeer, Briefwechsel und Tagebücher, bd. III p. 177.

Summary A short letter in which Baermann expresses thanks for Meyerbeer's 'generous gift' (Meyerbeer's payment for a box at the Baermanns’ benefit concert in Paris) and the complimentary letter that came with it, and alludes to the disappointments that he has suffered in giving concerts in the past.
Carl Baermann to Giacomo Meyerbeer, 21 October 1844 From Carl Baermann, München, 21 October 1844
To Giacomo Meyerbeer

Source D-Bim, Meyerbeer Archives, 1/35
Transcription Meyerbeer, Briefwechsel und Tagebücher, bd. III p. 542–3.

Summary
(542) CB encloses a plan of the orchestra layout, presumably in Munich, and makes particular comment about the position of the double basses in the pit.
(543) CB thanks GM for news of his stay in Dresden with Spontini, and asks for GM’s opinion of Wagner’s Rienzi "since I have already heard so many contradictory things about it". CB reports that the Munich Intendant Freyherr von Frays gives GM the go-ahead to continue with his "new opera" and asks to be the first to stage it. CB asks GM for his response to this.
Heinrich Baermann to Giacomo Meyerbeer, 12 April 1837 From Heinrich Baermann, München, 12 April 1837
To Giacomo Meyerbeer

Source D-Bim. No digitisation currently available.
Transcription Meyerbeer, Briefwechsel und Tagebücher, bd. III p.35–7.

Summary
p.35: Baermann thanks Meyerbeer for sending him a piano score of Les Hugenots and praises the opera. He reports showing it to Lachner, newly installed as Kapellmeister in Munich, who promised to perform it. Baermann praises Lachner’s influence on musical taste in Munich.
p.36: Baermann encourages Meyerbeer to present Les Hugenots in Munich himself and chides him for not responding to letters. He expresses pride at the achievements of his sons Carl and Heinrich, the latter a painter.
p.37: Baermann speaks of his affection for Meyerbeer's brother, the painter Michael Beer and his sadness at his death, of which he learned while touring in St Petersburg in 1833. He recalls Beer’s intention to support his son Heinrich financially. HB sends affectionate greetings to Meyerbeer's mother and wife. In a postscript, Baermann reports that Les Hugenots will be performed in Munich during the next October festival.
Excerpt
“...was mich aber warhaft glücklich macht, sind die Riesenschritte meines aeltesten Sohnes Carl der vor wenig Tagen in einem großen Concerte, durch Composition und Vortrag eines seiner neuesten Concerte, mir stille Bewunderung abgezwungen, und das Publikum zur Anerkennung seine Virtuosität hinriß...”

“...what makes me truly happy, however, are the giant strides of my eldest son Carl, who a few days ago, in a great concert, by composing and performing one of his latest concertos, forced silent admiration from me, and moved the audience to acknowledge his virtuosity...”

Post-edited Deepl translation
References
Primary Sources: Holding Institutions and Collections
CH-SGv Kantonsbibliothek Vadiana, St. Gallen
D-B Staatsbibliothek zu Berlin - Preußischer Kulturbesitz, Musikabteilung, Berlin
D-Bim Staatliches Institut für Musikforschung - Preußischer Kulturbesitz, Berlin
D-Dl Sächsische Landesbibliothek - Staats- und Universitätsbibliothek, Dresden
D-Heu Universitätsbibliothek, Heidelberg
D-Hs Staats- und Universitätsbibliothek Carl von Ossietzky, Musiksammlung, Theatersammlung, Hamburg
D-Hth Universität Hamburg, Zentrum für Theaterforschung, Theatersammlung, Hamburg
D-KA Badische Landesbibliothek, Karlsruhe
D-LEsm Stadtgeschichtliches Museum, Bibliothek, Leipzig
D-Mbs Bayerische Staatsbibliothek, München
GB-Lbl The British Library, London
GB-Ob Bodleian Library, Oxford
US-NYpm Pierpont Morgan Library, New York
US-Wc Library of Congress, Washington, D.C.
Secondary Sources
Erdt, Robert. Der Münchner Klarinettenvirtuose Carl Baermann als Pädagoge, Klarinettist und Komponist. Frankfurt am Main: Peter Lang, 2009

Mendelssohn-Bartholdy, Felix, et al. Sämtliche Briefe. Kassel: Bärenreiter, 2008

Meyerbeer, Giacomo. Briefwechsel und Tagebücher. Edited by Heinz Becker. Berlin: Walter de Gruyter, 1959-2006

Nohl, Ludwig, ed. Musiker-Briefe: eine Sammlung Briefe von C.W. von Gluck, Ph. E. Bach, Jos. Haydn, Carl Maria von Weber und Felix Mendelssohn-Bartholdy. Leipzig: Duncker und Humblot, 1867.

Poissl, Johann Nepomuk von. Briefe (1807-1855): ein Blick auf die Münchener Musik- und Theatergeschichte. Edited by Volkmar von Pechstaedt. Göttingen: Hainholz, 2006

Online databases
Hofmeister XIX
Heinrich Baermann to Giacomo Meyerbeer, 9 October 1815 From Heinrich Baermann, München, 9 October 1815
To Giacomo Meyerbeer

Source D-Bim. No digitisation currently available. Please see source record for further details.
Transcription Meyerbeer, Giacomo. Briefwechsel und Tagebücher, ed. Heinz Becker. Berlin: Walter de Gruyter, 1959-2006, bd. I p. 285-288.

Summary
p. 268: Baermann discusses plans for trip to Venice in November 1815; von Poissl also to be there. Gives opinions on Poissl’s operas Olympiade and Athalie. Reports on Weber’s stay in Münich in 1815.
p. 287: Baermann criticises the casting in Wohlbrück and Fränzl’s Hariodan and the composition of Fran Cramer’s Die Verbanndten (“I have never felt more bored at a rehearsal than today”). Reports what productions have been performed at the Isathor Theatre. Discusses plan to tour Italy with von Poissl in early 1816 and invites Meyerbeer to join them.
p. 288: Baermann states his intention to compose after finishing the letter and conveys the good wishes of Harlas and the family.