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The Digital Baermann

Erdt, Robert. Der Münchner Klarinettenvirtuose Carl Baermann als Pädagoge, Klarinettist und Komponist. Frankfurt am Main: Peter Lang, 2009

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Carl Baermann to Herrn. J. André, 22 November 1856 From Carl Baermann, München, 22 November 1856
To Herrn. J. André

Transcription Erdt, Der Münchner Klarinettenvirtuose Carl Baermann, 350 and 359.
Summary Following on from a previous letter (whereabouts unknown), Baermann writes to André giving further details and sample pages of the Vollständige Clarinett-Schule. He explains the rationale behind its design and describes each section. He also includes a selection of other pieces for publication, including his cello concerto, and promises a new work for two clarinets and piano which is currently ‘in sketches’.
In an addendum, he suggests that payment for the works could take the form of piano scores for his son, Carl Jnr. Finally, he asks that André take care not to lose his manscripts as he has previously had ‘a very unpleasant experience with Schott in Mainz’.
Notes Erdt p. 359 is an apparent postscript - Listed after the rest of the letters, separate from the other letter of this date.
Excerpt: Baermann on his plans for the Vollständige Clarinett-Schule
Sehr geehrter Herr!
Ich übersende Ihnen hiermit die Musiklaien welche ich Ihnen in meinem letzten Schreiben zum Verlag angeboten zur gefälligen Einsicht, und bitte dieselben einer genauen Prüfung zu unterwerfen. Ich hätte nicht so lange damit gezögert wenn die Piecen des ersten Theiles meiner Schule nicht noch als Skizze unausgearbeitet würden gewesen sein. Da Sie aber nach Ihren geehrten Schreiben zu urtheilen, sich von meiner Beschreibung der Schule noch kein klares Bild machen konnten, so war es nöthig wenigstens von einigen Nummern des ersten Theils ebenfalls einige Piecen fertig zu arbeiten u. dieß veranlaßte die Verzögerung. Ich erlaube mir nun die Schule Ihnen nochmals zu detailiren. Der erste Theil wird nun nebst einer vollständigen Grifftabelle der neu construirten Clarinette und verschiedenen Paragraphen über Behandlung, Vortheile derselben, und über Vortrag & alles enthalten was eben zu einer vollständigen Schule unumgänglich nöthig ist. Die Absicht meiner Schule ist das Notwendige mit dem Angenehmen zu verbinden, so daß die Schwierigkeiten so viel als möglich melodisch darin geboten sind, denn es ist wohl ganz klar das der Schüler dieselben lieber studirt, wenn er zugleich ein angenehmes Musikstück damit sich einstudirt. Aus diesem Grund, und zugleich auch daß der Schüler harmonisch gebildet wird, da die Beispiele selbst unter bedeutenden Künstlern nicht selten sind die von Harmonie keinen Begriff haben, habe ich Clavier Begleitung dazu gesetzt, und ich glaube daß Sie mir nach genauer Prüfung der Musikstücke beistimmen werden. Ich habe Ihnen den Anfang der praktischen Schule beigelegt damit Sie leichter ein Bild derselben erhalten. Die Ordnung des ersten Theiles werden Sie damit leicht ersehn, und er wird so fortgeführt wie er begonnen nämlich von jeder Tonart sowohl Dur als Moll werden 2 Nummern folgen, womit dann der erste Theil schließt. Der 2‘ Theil beginnt mit großen Scalen Terzen Sexten Oktaven und andern nöthigen Fingerübungen welche noch nicht ganz ins Reine geschrieben sind, was davon so weit geschrieben ist habe ich ebenfalls beigelegt. Diesem folgen nun die größern Etüden. Jede dieser Etüden hat einen schwierigen Griff des Instruments zur Unterlage und bildet dennoch ein brillantes Salonstück. Unter sich beruhen [sic] diese Etüden alle verschiedenen Gattungen der Musikstücke, welches ich auch schon beiden Piecen des ersten Theiles streng berücksichtigt habe, was Sie auch leicht bemerken werden. Der dritte Theil wird alle schwierigen Stellen & Passagen aus meinen vielen großen aber noch ungedruckten Concerten enthalten, jedoch natürlich ohne Clavier Begleitung, blos zum technischen Selbst Studium.
...
So umfangreich auch dieselbe werden wird, so wird sie gewiß ein Schatz für alle Clarinettisten werden, da außer den wenigen Piecen von Spohr & Weber eine schreckliche Armuth in diesem Theil der Musik herrscht, u. was von andern dafür geschrieben ist größtentheils so abgeschmackte u. nichtssagende Musik ist, daß einen [sic] Musiker bei de[] ersten Tackte schon die Lust am Studiren vergeht.

Dear Sir!
I am sending you herewith the music sheets which I offered to publish in my last letter for your kind perusal, and ask you to examine them carefully. I would not have hesitated so long if the pieces of the first part of my school had not still been unfinished sketches. But since, judging from your honoured letters, you were not yet able to form a clear picture of my description of the school, it was necessary to finish at least some of the pieces of the first part and this caused the delay. I now take the liberty of detailing the school for you once again. The first part will now contain, in addition to a complete fingering chart of the newly constructed clarinet and various paragraphs on its handling, [its] advantages and about performance, and everything that is absolutely necessary for a complete school. The intention of my school is to combine the necessary with the pleasant, so that the difficulties are presented as melodically as possible, for it is quite clear that the pupil prefers to study them if he is at the same time rehearsing a pleasant piece of music. For this reason, and also so that the pupil is educated harmonically, since examples are not uncommon even among important artists who have no concept of harmony, I have added piano accompaniment, and I believe that you will agree with me after careful examination of the pieces of music. I have enclosed the beginning of the practical school to make it easier for you to get a picture of it. You will easily see the order of the first part, and it will be continued as it began, namely 2 numbers will follow from each key, both major and minor, with which the first part then concludes. The 2nd part begins with major scales, thirds, sixths, octaves and other necessary finger exercises which are not yet written in their entirety; I have also included what has been written so far. This is now followed by the larger etudes. Each of these etudes is based on a difficult fingering of the instrument and yet forms a brilliant salon piece. These etudes are based on all the different genres of musical pieces, which I have already carefully considered in both volumes of the first part, as you will easily observe. The third part will contain all the difficult passages from my many large but as yet unprinted concertos, but of course without piano accompaniment, merely for technical self-study.
...
As extensive as it will become, it will certainly be a treasure for all clarinetists, since apart from the few pieces by Spohr & Weber there is a terrible poverty in this area of music, and what is written for it by others is for the most part such tasteless and meaningless music that a musician loses the desire to study it at the very first touch.

Post-edited Deepl translation
Carl Baermann to Herrn. J. André, 16 March 1857 From Carl Baermann, Weimar, 16 March 1857
To Herrn. J. André

Transcription Erdt, Der Münchner Klarinettenvirtuose Carl Baermann, 357.
Summary Baermann thanks André for the receipt of 100 Thaler and requests that the remaining 60 Thaler be forwarded. He says he has not received anything from ‘Herrmann’ and that ‘Schlesinger and Kranz’ are helping with ‘with music’, possibly referring to scores for his son, which he asks André to sent once the matter of the Clarinett-Schule is settled. He promises to complete the Schule as quickly as possible and send it.
In a postscript, Baermann says that the manuscripts for the other works to be published will be delivered within 8 days, and asks to see proofs for correction.
Wilhelm Taubert to Carl Baermann, 26 December 1843 From Wilhelm Taubert, Berlin, 26 December 1843
To Carl Baermann

Transcription Erdt, Der Münchner Klarinettenvirtuose Carl Baermann, 346.
Summary Taubert apologises to Baermann for the slow response to his last letter, which enquired about the possibility of Taubert joining him (and possibly the cellist Joseph Menter) on a concert tour. Taubert says that [Theodor] Kullak will also not be inclined to leave Berlin at this time, but recommends his former student Alexander Emst Fesca (1820-1849) as the ideal companion: “Young, independent, lively, agile, used to travelling, talented and practical, and even if he is not at your and Menter's level as a virtuoso, he will be the man you need.” (346). Taubert then discusses the prospects for Baermann’s ‘further plans for Berlin’, which appear to involve procuring a position in the Kapelle. He reports of the success of the winter symphony concerts, directed by Mendelssohn, and writes that ‘the virtuosos are doing bad business’ as a result, suffering from empty halls. Taubert suggests that touring is more lucrative. Finally, he sends his regards to Menter and news of his family.
Carl Baermann to Herrn. J. André, 29 January 1857 From Carl Baermann, München, 29 January 1857
To Herrn. J. André

Transcription Erdt, Der Münchner Klarinettenvirtuose Carl Baermann, 354.
Summary Baermann expresses his pleasure that his manscripts have been met with approval. He offers to travel via Offenbach on the return journey from Weimar, where he is taking his son Carl Jnr to study with Liszt.
Carl Baermann to Herrn. J. André, 9 March 1857 From Carl Baermann, 9 March 1857
To Herrn. J. André

Source Erdt, Der Münchner Klarinettenvirtuose Carl Baermann, 359.
Notes Listed in Erdt's sources but not included in his transcriptions.
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
Carl Baermann to Herrn. J. André, 10 January 1857 From Carl Baermann, 10 January 1857
To Herrn. J. André

Source Erdt, Der Münchner Klarinettenvirtuose Carl Baermann, 359.

Notes Listed in Erdt's sources but not included in his transcriptions.
Carl Baermann to Herrn. J. André, 24 February 1857 From Carl Baermann, Berlin, 24 February 1857
To Herrn. J. André

Transcription Erdt, Der Münchner Klarinettenvirtuose Carl Baermann, 355.
Summary Baermann protests at being asked to set prices for his works himself, nonetheless suggesting 20-40 Thaler for each of the short pieces he submitted. He asks André to make him an offer for the Clarinett-Schule based on his publishing expenses. Baermann states his intention to remain in Berlin until 3 March before travelling to Weimar by 9 March.