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The Digital Baermann

D-Mbs

List of cited sources held at the Bayerische Staatsbibliothek, München.

This page is referenced by:

Weber: Clarinet Concerto No. 1 in F minor, op. 73 Composer
Carl Maria von Weber

Work title
Clarinet Concerto No. 1 in F minor, op. 73

Composition date
1811

Manuscript sources
Autograph score from Weber's private library in D-B ms. autogr. C. M. v. Weber WFN 11.
Autograph copy in Weber's hand, previously owned and used by Heinrich and Carl Baermann, in US-Wc ML30.8b .W4 (see below). This score contains various annotations and alterations, including the insertion of the 16-bar 'Baermann cadenza' in the first movement.

A number of annotations added and subsequently deleted from US-Wc do not have parallels in the later Baermann edition. These likely reflect the ongoing development of the Baermann's performance practices as well as what information they felt needed to be conveyed to the orchestra in rehearsal and performance. The following is based solely on examination of the digitised score; an in-person inspection may yield more information.

I b. 47: [pause symbol]
I b. 96: 'ritard'
I b. 278 indications to slow down: both Weber's hand and subsequent annotations have been excised

II 18–20: alternating Forte and Piano markings on each phrase.

III b. 124: 'poco meno'
III b. 282: 'Tempo I'
III b. 332: 'piu allegro'

Early Prints
First edition, supervised by Weber: Schlesinger pl. 1177 (1824), piano version digitised by D-Mbs 4 Mus.pr. 89.717.

Carl Baermann Edition
Robert Lineau/Schlesinger, pl. S. 1177 (1870). Available commercially as part of the Henle Urtext edition (see below), and as Lineau RL36270.
Significant additions and alterations to all aspects of the music, including the inclusion of the 16-bar 'Baermann cadenza' in the 1st movement, as well as metronome marks for movements and sections.

Metronome marks:
I Allegro: crotchet = 108
b. 110 con anima: 'Tempo ritenuto' crotchet = 92
b. 130 lusingando e con espressione: 'Con moto': crotchet = 100
b. 145: 'Tempo I': crotchet = 112
b. 170: 'Un poco ritenuto': crotchet = 92
b. 192: grazioso: 'Tempo I': crotchet = 100

II Adagio ma non troppo crotchet = 46
b. 31 Poco più animato: crotchet = 66

III 'Allegro' [Weber: Allegretto]: crotchet = 120

Modern Editions
Henle 731, edited by Norbert Gertsch. Henle (2002). Urtext version based on the MS sources and first edition, alongside Baermann's edition.
Weber Sämtliche Werke V Bd. 6., Schott WGA 1056 (2010), edited by Frank Heidlberger. Also available as Schott KLB 78 (piano reduction, first edition version only) and Eulenberg ETP 1902 (miniature score with parallel clarinet parts).

Notes
See prefaces and critical commentaries to the urtexts by Gertsch (2002) and Heidlberger (2010) for further information.

Explore further sources in the Virtual Archive relating to Baermann's edition of this work by following the path below.
Weber: Grand duo concertant, op. 48
Composer
Carl Maria von Weber

Work title
Grand duo concertant, op. 48

Composition date
1815–16

Manuscript Sources
Autograph sketches in D-B
Autograph fair copy is digitised in US-Wc. According to Allroggen and Holsträter, these were made by Weber for his own archive, and do not derive from same source as D-B.
Engraver’s proof is in A-Wst.

Early prints
First edition, Schlesinger pl. 253 (1817), digitised by D-Mbs (see below)

Carl Baermann Edition
Robert Lineau pl. S. 5590 (1869). Commercially available as RL36080. Comparative clarinet part forthcoming.
Baermann's edition features extensive changes to phrasing and articulation, additional and changed dynamics, additional tempo and expression indications, and metronome marks in the first and second movements. He also adds rehearsal letters.
Notably, Baermann's changes to the phrasing marks tend towards replacing Weber's unusually long slurs with shorter ones, or removing them entirely, creating a more articulated and less legato effect overall.

Metronome marks:
Allegro con fuoco: minim = 116
Andante con moto: crotchet = 48
Rondo Allegro: no mark

Modern editions
Weber Sämtliche Werke VI Bd. 3., Schott WGA 1063 (2005), edited by Gerhard Allroggen and Knut Holsträter. Also published as Schott KLB 58. Gives priority to the engraver's proof (A-Wst).

Notes
For further sources, see the Weber Gesamtasugabe.
Theaterzettel des Hof- und Nationaltheater D-Mbs has digitised playbills of the Königliches Hof- und Nationaltheater in its holdings between 1805–1918. The volumes include both stage productions and concerts, though coverage is not comprehensive and from 1865 the volumes appear to only contain stage productions.

Carl Baermann appears regularly as a performer in various contexts, including miscellaneous 'Vocal- und Instrumental-Concert[e]', usually given for the benefit of a specific musician, and the subscription series given by members of the Hofkapelle under various names such as 'abonnirtes Konzert', 'Concert der Mitgleider der Königliche Hofkapelle' and 'Abonnement-Concert'. In these concerts, In these concerts, Baermann performed almost exclusively his own compositions, though chamber works by Beethoven, Hummel, and Mozart do begin to feature occasionally from the mid-1840s. Baermann's works were also performed by other clarinetists, most often his Hofkapelle colleague Faubel at the long-running 'musikalische-declamatorische Abendunterhaltung[en]'.

The digitisations are OCR-searchable, but variant spellings need to be included (for instance 'declamatorische' and 'deklamatorische').

A full list of the holdings and links to digitised volumes can be accessed here.
Heinrich Baermann to Kunstverein/Scheidsgericht München From Heinrich Baermann, München
To Kunstverein München

Source D-Mbs. See Kalliope.
Notes Addressed to the arbitration court of the Kunstverein.

No digitisation or transcript currently available. Please see source record for further details.
Felix Mendelssohn-Bartholdy to Heinrich Baermann, 19 January 1833 From Felix Mendelssohn-Bartholdy, Berlin, 19 January 1833
To Heinrich Baermann

Source D-Mbs, Autogr. VIII F. No digitisation currently available.
Transcription Mendelssohn-Bartholdy, Felix, et al. Sämtliche Briefe. Kassel: Bärenreiter, 2008, vol. III p. 107–8.

Summary Mendelssohn delivers the score of the Conzertstück Op. 113 in F, describes the ideas that inspired its composition, and invites Baermann to adapt the piece to his needs. He apologises for not enclosing the solo piece for Carl with orchestral accompaniment, as he has not yet started it. NB: the editor of the Sämtliche Briefe interprets this as a reference to the Concertstück Op. 114 in D minor, but in Mendelssohn’s later letter of 7 July 1834 he clearly refers having promised two further pieces: both a ‘new duet’ and a ‘solo for bassethorn’, which he planned to compose in B flat. Mendelssohn also encloses a letter of introduction for Baermann to the pianist and clergyman in St Petersburg, Joseph Amadeus Kohlreiff, and tells Baermann to ask for Ferdinand David’s help in ascertaining Kohlreiff’s location.
"Lieber Bärmann
Hier schicke ich Dir das befohlne Duett. Ein Schelm giebt es besser, als ers hat. Der Titel ist:

Grand Duo
commandé par Mr. Bärmann
composé sur un thême favori de Mr. Bärmann
pour Mrs. Bärmann
par
F. Mendelssohn Bartholdy entre autres.

Denn es kann ebenso gut von jedem andern schlechten Componisten sein. –Übrigens mach damit, was Du willst; wenn Du es nicht brauchen kannst, wirf es ins Feuer, und kannst Du es brauchen, so ändre Dir es nach Deinen und Deines Sohnes Fingern ab, streich hinaus und hinein, kurz mach was Schönes draus d. h. ändre es ganz und gar. Meine Intentionen sind folgende: Beim ersten Stück, dem Dein Thema zu Grunde liegt, dachte ich mir in meiner Phantasie Hrn. Stern, wenn Ihr ihm Alles Geld im Whist abgenommen hattet und er nun in Wuth gerieth (Du wirst ihn ja bald sehen, grüß ihn von mir) Beim Adagio wollte ich Dir eine Erinnerung an das letzte diner bei Heinrich Beer mitgeben, wo ich es componiren mußte, die Clarinett malt meine Sehnsuchtsgefühle, während die Bewegung des Bassethornes mein Bauchknurren dabei vorstellt. Das letzte Stück ist kalt gehalten, weil Ihr nach Rußland reis’t, wo die Temperatur ebenso sein soll. Nun Gott schütze Euch mit Pelzen. – Deines Sohnes Stück schicke ich aus mehreren Gründen heut nicht mit, der erste ist, daß es noch nicht angefangen, also auch noch nicht fertig ist; doch will ich mich morgen früh daran machen; aber ich bitte Euch mir noch von Königsberg aus ein Paar Worte zukommen zu lassen, damit ich Eure Reiseroute und Adressen kenne und es nöthigenfalls nachschicken kann. Denn selbst wenn es jetzt fertig wäre, müßte ich es mit der Fahrpost schicken, da es mit Orchester sein muß, und Orchester kostet viel Porto; dann träfe es Euch aber nicht mehr dort. Also schreibt mir das Alles genau. Ich mach es auf jeden Fall, und so schnell ich kann. — Hier ist seitdem nichts vorgegangen, nur am politischen Himmel ist eine interessante Neuigkeit: Mde. Beer hat mir einen großen Butterkuchen geschenkt, und ich denke bei jedem Stück, das ich verzehre, an Euch, weil es so gut schmeckt, daß ichs Euch gönne. – Wie sieht es denn in Königsberg aus? königlich und bergig? – Warum habt Ihr mir denn ganz verschwiegen, daß Du eine so hübsche Nichte hast? Wäre ich nicht zum Abschiede gekommen, so wüßte ichs noch nicht. Gestern Abend war ich mit der Hähnel zusammen, die so viel nach Dir fragte, und soviel von Deiner Liebenswürdigkeit zu erzählen wußte, daß ich Dich ins Pfefferland gewünscht hätte, wenn Du nicht zum Glück ins Juchtenland reis’test. Ach Gott, verzeih die dummen Witze, aber ich weiß gar nicht, was ich weiter schreiben soll, damit die Seite ganz voll wird.

Hier inliegend ist ein Brief an meinen Russischen Clavierspieler, der ein charmanter Kerl ist. Frag David in Dorpat wo er sich aufhält, ich weiß es nicht. Und nun lebt beide herzlich wohl, und geb Euch Gott zu Eurer kalten Reise Gluck und Gelingen. Auf Wiedersehn in München im Herbst zum Octoberfest und andern lustigen Dingen.

Dein

Felix Mendelssohn B."

"Dear Bärmann
Here I send you the commanded duet. A rogue gives it better than he has. The title is:

Grand Duo
commandé par Mr Bärmann
composé sur un thême favouri de Mr. Bärmann
for Mrs Bärmann
par
F. Mendelssohn Bartholdy among others.

For it could just as well be by any other bad composer. – By the way, do what you like with it; if you can't use it, throw it into the fire, and if you can use it, alter it according to your own and your son's fingers, cross it out and in, in short, make something beautiful out of it, i.e. change it completely. My intentions are as follows: In the first piece, which is based on your theme, I thought of Mr Stern in my imagination, if you had taken all the money from him in the Whist and he was now in a rage (you will see him soon, give him my regards) In the Adagio I wanted to give you a memory of the last dinner at Heinrich Beer's, where I had to compose it, the clarinet paints my feelings of longing, while the movement of the Bassethorn imagines my stomach growling. The last piece is kept cold because you are travelling to Russia, where the temperature is supposed to be the same. Now God protect you with furs. – I am not sending your son's piece today for several reasons, the first being that it has not yet been started and is therefore not yet finished; but I will start on it tomorrow morning; but I would ask you to send me a few words from Königsberg so that I know your travelling route and addresses and can send it on if necessary. For even if it were ready now, I would have to send it by road mail, as it has to be with an orchestra, and orchestras cost a lot of postage; but then it would no longer reach you there. So write me everything exactly. I'll do it in any case, and as quickly as I can. – Nothing has happened here since then, but there is some interesting news in the political sky: Mde. Beer has given me a large butter cake, and I think of you with every slice I eat, because it tastes so good that I don't begrudge you it. – What is Königsberg like? Royal and mountainous? – Why did you not tell me that you had such a pretty niece? If I hadn't come to say goodbye, I wouldn't know yet. Last night I was with Hähnel, who asked so much about you, and knew so much about your kindness, that I would have wished you to the land of pepper if you had not fortunately travelled to Juchtenland. Oh God, forgive the stupid jokes, but I don't know what else to write so that the page will be completely full.

Enclosed is a letter to my Russian piano player, who is a charming chap. Ask David in Dorpat where he is, I don't know. And now farewell to both of you, and God grant you luck and success on your cold journey. See you again in Munich in autumn for the Octoberfest and other fun things.

Yours

Felix Mendelssohn B."

Post-edited Deepl translation
Heinrich Baermann to Kunstverein München, 29 May 1835 From Heinrich Baermann, München, 29 May 1835
To Kunstverein München

Source D-Mbs, DE-611-HS-24671

No digitisation or transcript currently available. Please see source record for further details.
Heinrich Baermann to B. Schott's Söhne, 1835 From Heinrich Baermann, München, 1835
To B. Schott's Söhne

Source D-Mbs, Ana 800.A.III. Bärmann, Heinrich Joseph

No digitisation or transcript currently available. Please see source record for further details.
Heinrich Baermann to B. Schott's Söhne, 1836 From Heinrich Baermann, München, 1836
To B. Schott's Söhne

Source D-Mbs, Ana 800.A.IV. Bärmann, Heinrich Joseph. See Schott-Archiv.

No digitisation or transcript currently available. Please see source record for further details.
Louis Spohr to Heinrich Baermann, 2 August 1826 From Louis Spohr, Kassel, 2 August 1826
To Heinrich Baermann

Source D-Mbs
Transcription Spohr-Briefe (see below)
Summary Spohr thanks Baermann for news of the success of his opera Faust in Munich and expresses the wish to hear it performed by the Munich orchestra, which he esteems. Spohr asks that von Poißl be informed in return that his opera die Prinzessin von Provence was received favourably in Kassel, and suggests that his own relationship with Poißl seems to have deteriorated.
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