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The Digital Baermann

Meyerbeer, Giacomo (1791-1864)

Giacomo Meyebeer (b Vogelsdorf, 5 Sept 1791; d Paris, 2 May 1864). German opera composer. Older brother of Michael and Wilhelm Beer.

Brzoska, Matthias. "Meyerbeer [Beer], Giacomo [Jakob Liebmann Meyer]". Grove Music Online. 2001.

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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
Giacomo Meyerbeer to Carl Baermann, 12 October 1844 From Giacomo Meyerbeer, Berlin, 12 October 1844
To Carl Baermann

Source Listed in Henrici, Karl Ernst. Autographen: Versteigerung 19. bis 21. Juni 1922 (Katalog Nr. 77). Berlin, Henrici: 1922, 80.
See also Giacomo Meyerbeer to Carl Baermann, 7 May 1844

Description from catalogue:
An den Kammer-Musiker Carl Bärmann in München in Orchester-Angelegenheiten. Frägt nach der Art und dem Preis der im Münchner Theater gebrauchten Pauken an und im zweiten Briefe bittet er um eine Zeichnung der Stellung des Orchesters im Münchener Theater, zwecks Benutzung beim Neubau des Berliner Opernhauses.

To the chamber musician Carl Bärmann in Munich regarding orchestral matters. Enquires about the type and price of the timpani used in the Munich theatre and in the second letter he asks for a drawing of the position of the orchestra in the Munich theatre for use in the new building of the Berlin opera house.

Post-edited Deepl translation
Giacomo Meyerbeer to Carl Baermann, 7 May 1844 From Giacomo Meyerbeer, Berlin, 7 May 1844
To Carl Baermann

Source Listed in Henrici, Karl Ernst. Autographen: Versteigerung 19. bis 21. Juni 1922 (Katalog Nr. 77). Berlin, Henrici: 1922, 80. See also Giacomo Meyerbeer to Carl Baermann, 12 October 1844.

Description from catalogue:
An den Kammer-Musiker Carl Bärmann in München in Orchester-Angelegenheiten. Frägt nach der Art und dem Preis der im Münchner Theater gebrauchten Pauken an und im zweiten Briefe bittet er um eine Zeichnung der Stellung des Orchesters im Münchener Theater, zwecks Benutzung beim Neubau des Berliner Opernhauses.

To the chamber musician Carl Bärmann in Munich regarding orchestral matters. Enquires about the type and price of the timpani used in the Munich theatre and in the second letter he asks for a drawing of the position of the orchestra in the Munich theatre for use in the new building of the Berlin opera house.

Post-edited Deepl translation
Giacomo Meyerbeer to Carl Baermann, 8 July 1844 From Giacomo Meyerbeer, Berlin, 8 July 1844
To Carl Baermann

Source Listed in Stargardt, J. A. (ed.). Autographen aus allen Gebieten: Versteigerung am 9. Oktober 1936. Berlin, Stargardt: 1936, 14.
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, 8 April 1847 From Heinrich Baermann, München, 8 April 1847
To Giacomo Meyerbeer

Transcription Meyerbeer, Briefwechsel und Tagebücher, bd. IV p. 228.
Summary Baermann apologises for Meyerbeer’s treatment by the Intendant of the Munich theatre over his opera Vielka. He reports that Carl will give his annual benefit concert and speaks of his son’s progress and talent.
Excerpt: Heinrich Baermann on his son's compositional talent
Mein Sohn Carl ist hier und wird diese Tage, wie alljährlich, sein Beneviez Konzert geben. Über sein Vortschreiten in der Kunst kann ich mich nur günstig für ihn aussprechen und, obwohl Vater muß ich doch gestehen bisher keine Ahnung von dem gehabt zu haben was er auf seim[em] Instrument leistet, seine Composition[en] tragen den Stempel der Genialität, verbinden den Rang Meyerbeerscher Harmoniewendungen mit wirklich gigantischen Tonmassen, so daß man nicht verkennen kann, die großen Geister Beethoven und Meyerbeer in sich aufgenommen zu haben, auch wurde er jüngst den übrigen ersten Orchester Mitgliedern im Gehalte gleichgestellt, und hat also wenngleich spärlich doch sein Auskommen. er empfiehlt sich Dir angelegendlichst. Du gehst nach London? Vielleich[t] hast Du Gelegenheit etwas für ihn dort zu bewirken.

My son Carl is here and will be giving his benefit concert these days, as he does every year. I can only speak favourably of his progress in art and, although I am a father, I must confess to having had no notion of what he has achieved on his instrument, his compositions bear the stamp of genius, combine the rank of Meyerbeerish harmonies with truly gigantic masses of sound, so that one cannot fail to recognise that he has absorbed the great spirits of Beethoven and Meyerbeer, and he was recently placed on an equal footing with the other first members of the orchestra in terms of salary, and thus has his livelihood, albeit meagre. He recommends himself to you most warmly. Are you going to London? Perhaps you will have the opportunity to do something for him there.

Post-edited Deepl translation
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
Giacomo Meyerbeer to Heinrich Baermann, 1 March 1847 From Giacomo Meyerbeer, Wien, 1 March 1847
To Heinrich Baermann

Source In private ownership
Transcription Complete Works of Carl Maria von Weber. Digital Edition, Weber-Gesamtausgabe (Version 4.8.1 of August 21, 2023).
Giacomo Meyerbeer to Heinrich Baermann, 19 December 1847 From Giacomo Meyerbeer, Paris, 19 December 1847
To Heinrich Baermann

Source Listed in Henrici, Karl Ernst. Musiker-Autographen: Versteigerung: Mittwoch, 7. November 1928 (Katalog Nr. 143). Berlin, Henrici: 1928.

Description from catalogue:
"Der geniale Berlioz . . . ist auf dem Punkt eine Kunstreise durch Deutschland zu unternehmen…" Er hat schon in verschiedenen Städten Verträge abgeschlossen; diesbezügliche Verhandlungen mit der Intendanz in München möchte Baermann übernehmen.
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.
Heinrich Baermann to Giacomo Meyerbeer, 28 April 1832 From Heinrich Baermann, München, 28 April 1832
To Giacomo Meyerbeer

Source D-B. No digitisation currently available.
Transcription Meyerbeer, Giacomo. Briefwechsel und Tagebücher, ed. Heinz Becker. Berlin: Walter de Gruyter, 1959-2006, bd. II p. 172–4.

Summary
Baermann discusses his impressions of Meyerbeer's opera Robert le Diable, sent to him by Meyerbeer in piano score, describes his experience of presenting it to his acquaintances, and the prospects of a performance in Munich, which he played a part in bringing about. He looks forward to seeing Meyerbeer in Munich when the opera is staged. Baermann requests that Meyerbeer translate and circulate his essay for the English and French newspapers, stating that it has already been printed in ‘three German musical newspapers’.

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