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The Digital Baermann

VCS II No. 4

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VCS II: Exercises 1–5
The first introduction of a basic scale exercises is grounded in the Messa di Voce [contextualise this historically]. However it is unclear how fast it should be played - whether each note is treated as an individual long tone, or several joined together.
Exercises 5 and 7 are notable for their breathing patterns: Baermann immediately introduces phrases of unequal length, directing the student’s attention to the breath/phrasing marks. Similarly in exercise 7, breaths are included that can only be to highlight phrase divisions, such as before the last note of the phrase in bar 10. The frequency of breaths could be to accommodate the breath control of a beginner student, however it is notable that very short breath periods remain characteristic throughout the VCS, and are also demonstrated in his instructions on breathing (I/X.).

Baermann states on exercise 3 that breaths must only be taken where indicated, raising the question of whether the student is expected to also breathe in rests or to adhere only to the notated breaths. [Does CB ever mark a breath over a rest? possibly not, therefore breaths on rests are intended where appropriate but perhaps not where there is a notated breath shortly after]

Exercise 8 ‘mit hartem Stosse’ also features very short often irregular phrases, punctuated by breath marks, as well as strong contrasts of dynamic and articulation. Rather than offering a whole exercise drilling staccato, however, Baermann introduces this character through contrast, by alternating staccato and legato phrases. It is notable that changes of dynamic or articulation are often, but not consistently, preceded by a rest or a breath mark: see for instance the breath during the decrescendo to MF in line 3; and the lack of breath before the final Forte phrase, which rather is interrupted by a breath mark that seems to indicate slowing [Does CB generally mark terminal rits?]

Exercise 9, ‘mit gebundenem Stosse’, is notable for the complexity of the articulation marks: dots under slurs, however often irregularly applied to only some notes of a slurred group; and a second layer of presumably phrasing slurs over the top. These larger slurs mostly, but not always, correspond with the phrases as indicated by the breath marks: however, in the final bars, he places breath marks within the phrasing slurs. This seems to imply, as is frequently found later in the VCS, a kind of breath that interrupts the sound while nonetheless maintaining some sense of phrase momentum or unity through it. The fact that these occur in the closing phrases of the piece, in conjunction with hairpins and restated pianos, works to arrest the momentum and imply a terminal ritardando.
In this exercise we also see the first application of the principle of interchangeable forked and keyed fingerings, on F’’ in the third bar and following instances. This either suggests that the two fingerings should sound relatively indistinguishable, or that the difference was accepted; either way, they seem to be chosen solely for ease of fingering.

Exercise 10 ‘This example must first be studied in the tempo Andante and then faster and faster until it works well as an Allegro’. This also features breath marks that interrupt slurred groups, for instance at the end of the first line, but these ones appear to impose a different phrasing structure than than shown by the slurs. In the first three cases, the notes after the breath is the last note under the slur and marked with a staccato dot as well. These dots on the last note of a slurred group occur throughout this study and the VCS in general. They are particularly ambiguous because could imply either an articulation before or after the note. Given the context of the breaths here, and Baermann’s wider use of single dots within slurred groups, it seems increasingly that he means the note to be articulated. The other use case of breaths breaking a slur in this study occurs twice, in lines 6 and 7 (bars and 45). In both cases this seems to be an instance of what Baermann discusses in his chapter on breathing, the taking of a breath at the end of a dotten note or a longer note within a passage of faster movement.
The instruction at the start of this study, that it be studied first in Andante increasing in speed until it can be played well in Allegro, suggests that Baermann’s focus here is on fluent legato across the instrument, including when crossing to C’’’. In terms of fingerings, it is notable that he only adds venting to C’’’ when it is adjacent to B’’, not when it occurs along, suggesting that he intends this fingering to assist stepwise legato rather than wider slurred intervals. The issue of whether to alter the breathing when playing the piece faster is not addressed, though Baermann does remark two pages later on study 12 that breathing marks will alter according to tempo. However this is an arpeggio study with less meaningful phrasing divisions.
This study is the first of many to feature combinations of written crescendo markings and hairpins, suggesting that these had a distinct meaning to Baermann, even though he doesn’t address this in the treatise.

Exercise 11 ‘must be played with completely strict time and a broad tone, so that this piece sounds very heavy.’ This is a strange one, on account of the irregularity of the phrase structures. It also asks questions aboutthe nature of articulations - staccato, accented, staccato plus accents, how to balance the emphais when the second and third beats of 3/4 are accented. It’s notable that he only puts accents on crotchets and longer, never on the quaver movement. The piano section features an exceptionally long slur (9 bars) interrupted by two breaths. The only accent to occur in conjunction with a slur is on the first note. Also the first study to start using keyed F’(3) in linear motion - up til now it’s all been open forked F’, because of occurring in leaps.
Exercise 12 ‘like no. 10 must first be studied slowly, and then up to an Allegro tempo. Mixed articulations. To be played with power and full tone throughout…. In No. 12 the student must pay exact attention to the articulation markings, which constantly change; also in this piece the signs for taking a new breath has not been shown, because these would have to change as the faster the piece is played; the main thing to note is that the breath is taken very quickly.’ This is an arpeggio study; as noted above, Baermann doesnt’ give breath marks because he expects them to change as you speed up. Changes of articulation pattern on the same material. Notable that there is no slurring up to the high notes - they are always picked out with the tongue. [When playing this I think I concentrated on evenness of support and voicing - check video].