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The Digital Baermann

D-B

List of cited sources held in Staatsbibliothek zu Berlin - Preußischer Kulturbesitz, Musikabteilung.

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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.
Jahns, Friedrich Wilhelm von (1809-1888) German scholar specialising in Carl Maria von Weber, also singing teacher and composer.

23 letters between Jahns and Baermann are listed individually on this site, corresponding to the holdings in D-B and the online Weber-Gesamtausgabe. However, the catalogue of the Baermann estate sale in 1922 indicates that there were originally 52 items dating from between 1864-1884. It is possible that the letters that do not relate to Weber have been separated at some point.

Catalogue description: "Wundervolle sich über zwei Dezenn’en [sic] erstreckende Korrespondenz mit dem Klarinettisten Carl Bärmann, grössten Teils über die Kompositionen und das Leben Carl Maria von Webers, an dessen Biographie Jähns arbeitete." Henrici, Autographen-Sammlung, 1922, 41.

Warrack, John. "Jähns, Friedrich Wilhelm". Grove Music Online. 2001.
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.
Carl Baermann to Friedrich Wilhelm von Jahns, 30 October 1864 From Carl Baermann, München, 30 October 1864
To Friedrich Wilhelm von Jahns

Source D-B, Weberiana Cl. X, Nr. 21
Transcription Complete Works of Carl Maria von Weber. Digital Edition, Weber-Gesamtaugabe (Version 4.8.1 of August 21, 2023) Last change of this document on July 25, 2023

Summary Baermann praises Jahns’s efforts with regard to Weber and his music. He answers Jahns’s questions about the additional cadenza passage in the F minor clarinet concerto added by Heinrich Baermann, stating that it had Weber’s ‘full approval’ ['volle Beistimmung']; he also gives his opinion on a cadenza for the Concertino in E flat by Heinrich; he discusses the authenticity of a manuscript of the Quintet for Clarinet and Strings, which is partly in Weber’s hand and partly in Heinrich’s. He refers to Heinrich’s tendency to give away manuscript letters and scores by Weber as gifts, and tells of how a collection of 30 letters and sketches were lost during a visit to Berlin. He refers Jahns to the widow of the clarinetist J. G. Kotte in Dresden, who he suggests may have more information on the whereabouts of some manuscripts including the Concertino op. 26. He gives information about the relationship between Weber, Hermstädt and Heinrich Baermann in relation to the Grand Duo op. 48, which he says Weber did not dedicated to Hermstädt out of respect for Heinrich. He then states that the Silvana variations op. 33 were jointly composed by Weber and Heinrich. He then reports his efforts to locate Weber’s Trauer-Musik (JV 116) for Jahns in institutions in Munich, without success. Finally, Baermann encloses a photograph of himself and encourages Jahns to reciprocate, expressing the wish that they meet in Munich the following year.
Excerpt: Baermann on his father's cadenzas
"Die Cadenz im Concertino ist von meines Vaters Hand hineingeschrieben*, doch würde ich Sie bitten keinen Werth hierauf zu legen, da erstens mein Vater die Cadenzen sehr nach seinen Launen componirte und heute eine spielte welche er morgen wieder verwarf, und zweitens gerade die in die Partitur eingeschriebene mir offen gesagt als gänzlich unpaßend für dieses kleine liebenswürdige Stück erscheint, da dieselbe viel zu groß und prätentiös auftritt, und so das Stück aus seinen Rahmen herauswirft."

"The cadenza in the Concertino is written in my father's hand, but I would ask you not to attach any importance to it, firstly because my father composed the cadenzas very much according to his whims and played one today which he discarded tomorrow, and secondly because the one written in the score frankly seems to me to be completely unsuitable for this charming little piece, as it appears far too large and pretentious and thus throws the piece out of its framework."

Post-edited Deepl translation

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Carl Baermann to Friedrich Wilhelm von Jahns, 14 April 1871 From Carl Baermann, München, 14 April 1871
To Friedrich Wilhelm von Jahns

Source D-B, Weberiana Cl. X, Nr. 28
Transcription Complete Works of Carl Maria von Weber. Digital Edition, Weber-Gesamtausgabe (Version 4.8.1 of August 21, 2023) Last change of this document on May 2, 2023. Open source in new window.

Source Baermann writes to advise Jahns on presenting his Weber-Werkverzeichnisses to the Bavarian king, in particular which members of the court to approach for assistance. He reports that his daughter Therese is in Berlin and that his son Fritz distinguished himself in the Franco-Prussian War the previous year.
Carl Baermann to Friedrich Wilhelm von Jahns, 18 March 1865 From Carl Baermann, München, 18 March 1865
To Friedrich Wilhelm von Jahns

Source D-B, Weberiana Cl. X, Nr. 23
Transcription Complete Works of Carl Maria von Weber. Digital Edition, Weber-Gesamtaugabe (Version 4.8.1 of August 21, 2023) Last change of this document on May 2, 2023.

Summary Baermann writes affectionately, apologising for his slow reply. He answers Jahns’s questions regarding Weber's Peter Schmoll Overture; the oboe arrangement of the Concertino for Clarinet; a version of the Clarinet Concerto in F minor that replaces the horns with male voices (made by Heinrich Baermann for a memorial concert after Weber’s death); changes to the Silvana Variations for Clarinet and Piano op. 33 that reflect ‘the virtuoso spirit of the performance’; the aria ‘Non Parventar Mia Vita’; and the duet ‘Mille Volte’ op. 31/1. He signs off saying that he must attend to a pupil who is ‘fantasy-ing impatiently’ ['ziemlich ungeduldig fantasieren'] in the next room, before going to the opera.

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Carl Baermann to Friedrich Wilhelm von Jahns, 19 June 1869 From Carl Baermann, München, 19 June 1869
To Friedrich Wilhelm von Jahns

Source D-B, Weberiana Cl. X, Nr. 27
Transcription Complete Works of Carl Maria von Weber. Digital Edition, Weber-Gesamtaugabe (Version 4.8.1 of August 21, 2023) Last change of this document on May 2, 2023. Open source in new window.

Summary Baermann discusses the attribution of an enclosed manscript of a Weber work for piano, offering his opinion that it is not genuine and reports of his difficulty in researching whether Weber’s opera Silvana was performed in Munich. He then discusses at length plans for his new edition of the Weber clarinet compositions for Lineau in Berlin. He asks Jahns to enquire of Lineau on his behalf whether they are planning to re-engrave the orchestral parts of the concertos. He signs off commenting that he is has ‘a terrible migraine and [is] drunk with Tristan rehearsals’.

Baermann on his editions of Weber
Now I will tell you something else that will interest you in part, since it also concerns Weber. This winter I received from Mr Rob: Lienau /: Schlesinger'sche Musikhandlung in Berlin :/* the commission to correct all clarinet compositions by Weber, as he intends to publish a completely new edition of them. I have now done this with the greatest certainty and love for the matter, and worked on it restlessly for over 2 months. But dear friend, what have I seen! It is quite unbelievable in what a state not only the principal part, but especially the piano parts of the two concertos were in. I had to redo the latter completely, since not a single note was to be used. Not only were there a lot of wrong harmonies and positions, there were even many transposed bars, and so have these compositions been handed over to the public for more than 40 years. I have only now come across these dreadful excerpts, otherwise I would have contacted the relevant authority earlier. The clarinet part itself was also in such a state that I am no longer surprised that these compositions were so horribly misused by all clarinettists, for there was no sign of performance, realisation, correct tempo or any kind of articulation. I have now given everything with the greatest accuracy, namely as these compositions were performed by my father and Weber himself, as I believe that I am the only living person who was able to do this. You will probably find some deviations in the markings, but these deviations were all deemed necessary by Weber himself, as they arose from his later development of taste, and the works had already been printed earlier. Similarly, individual passages were only submitted to the printer in draft form, as it were, such as the 3rd variation /: Adagio :/ in the Variations with Clavier, which is actually composed by my father, as I have (I believe) written to you before, and the clarinet part as it is printed has actually only provided a point of reference for the clavier player. I have now given all these passages exactly as they were played by my father with Weber, and you will be surprised at the significant difference. I have also inserted the passage that Weber added later in the F minor Concerto in the 1st Allegro 1st part with cadenza*, and thus corrected everything as it should actually be. I believe that the concertos and other compositions will now be much better understood and enjoyed, and I hope that you are satisfied with this work. -

Post-edited Deepl translation. For original transcription see below.
Anton Flad to Carl Baermann, 7 January 1865 From Anton Flad, Landshut, 7 January 1865
To Carl Baermann

Source D-B, Weberiana Cl. X, Nr. 175
Transcription Complete Works of Carl Maria von Weber. Digital Edition, Webere-Gesamtausgabe (Version 4.9.0 of February 5, 2024) Last change of this document on May 2, 2023.
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No digitisation or transcript currently available. Please see source record for further details.
Carl Baermann to B. Schott's Söhne, 24 August 1851 From Carl Baermann, München, 24 August 1851[?]
To B. Schott's Söhne

Source D-B, 55 Nachl 100/B,21032. See Schott-Archiv.
Carl Baermann to Friedrich Wilhelm von Jahns, 21 November 1876 From Carl Baermann, München, 21 November 1876
To Friedrich Wilhelm von Jahns

Source D-B, Weberiana Cl. X, Nr. 32
Transcription Complete Works of Carl Maria von Weber. Digital Edition, Weber-Gesamtausgabe (Version 4.8.1 of August 21, 2023) Last change of this document on May 2, 2023. Open source in new window.

Summary Baermann thanks Jahns for his last letter, agreeing with his sentiment that life is like a theatre. He reports that he is unable to find further information on the performance of an opera Ines de Castro, but has discovered manuscripts of two vocal works in the Music Academy. He supplies further details but apologises that he is not permitted to send the scores. Finally, he gives news of his family: his distress that his wife Barbara has been taken ill and confined to a lunatic asylum; and that his son Fritz (Friedrich) and daughter Marie have lately been married, the latter to ’a manor owner near Danzig, Mr Georg Hepner-Schwintsch’.
Baermann on life and theatre
Ja wohl haben Sie recht wenn Sie dieses Erdenleben mit einem Theater und uns armes Menschengewürm mit den Comedianten vergleichen. Wohl tausend u tausendmal hab ich dasselbe gefühlt, gedacht und ausgesprochen, und selten daß ich in einem Theater oder Puppenspiel gewesen in welchem nicht dieser Gedanke mich durchkreutzte, und ich mir dachte was sich im Theater in Kleinen zeigt, erfüllt sich außen im Großen, und der liebe Gott führt da außen seine Lust- Schau- und Trauerspiele auf. Nun wenn nur jeder seine Rolle so gut als möglich spielt, dann denke ich kann kommen was mag u. muß.

Yes, you are right when you compare this earthly life with a theatre and us poor human worms with the comedians. I have felt, thought and spoken the same thing a thousands and thousands of times, and rarely have I been in a theatre or puppet show where this thought did not cross my mind and I thought to myself that what is shown in the theatre on a small scale is fulfilled outside on a large scale, and the good Lord performs his comic and tragic plays out there. Now if only everyone plays his part as well as possible, then I think what may and must come can come.

Post-edited Deepl translation
Carl Baermann to Friedrich Wilhelm von Jahns, 14 May 1868 From Carl Baermann, Munich, 14 May 1868
To Friedrich Wilhelm von Jahns

Source D-B, Weberiana Cl. X, Nr. 26
Transcription Complete Works of Carl Maria von Weber. Digital Edition, Weber-Gesamtaugabe (Version 4.8.1 of August 21, 2023) Last change of this document on May 2, 2023. Open source in new window.

Summary Baermann answers Jahns’s queries about the provenance of two scores of the Weber’s Concerto in F Minor, asserting that his holograph is the earlier one and that the later copy was made for Weber and contains his alterations based on performances by Heinrich Baermnn. He then gives his opinion of the compositional merit of the Quintet for Clarinet and Strings and the Grand Duo Concertant.
Carl Baermann to B. Schott's Söhne, 1 June 1851 From Carl Baermann, München, 1 June 1851
To B. Schott's Söhne

Source D-B, 55 Nachl 100/B,21031. See Schott-Archiv.
Carl Baermann to Friedrich Wilhelm von Jahns, 19 March 1872 From Carl Baermann, München, 19 March 1872
To Friedrich Wilhelm von Jahns

Source D-B, Weberiana Cl. V (Mappe XIX), Abt. 5 A, Nr. 42b
Transcription Complete Works of Carl Maria von Weber. Digital Edition, Weber-Gesamtausgabe (Version 4.8.1 of August 21, 2023) Last change of this document on May 2, 2023. Open source in new window.

Summary Baermann writes to Jahns giving details of the jubilee celebrations for the trumpeter Metzkopp, who had played in every performance of Der Freischutz at the court theatre for 50 years.
Carl Baermann to Friedrich Wilhelm von Jahns, 19 April 1868 From Carl Baermann, München, 19 April 1868
To Friedrich Wilhelm von Jahns

Source D-B, Weberiana Cl. X, Nr. 25
Transcription Complete Works of Carl Maria von Weber. Digital Edition, Weber-Gesamtaugabe (Version 4.8.1 of August 21, 2023)
Last change of this document on May 2, 2023. Open source in new window.

Summary Baermann provides a series of clarifications in response to questions from Jahns about Weber’s works. He then responds in more detail to questions about the works for clarinet and orchestra. He contests Jahns’s apparent assertion that the E flat concerto is the superior work, claiming the F minor concerto to be freer, more ‘sublime’ and inventive, ‘all fresh and free from Weber’s breast’. He goes on to claim that his father loved the work more and that Mendelssohn considered it ‘more spiritual’. Baermann further remembers hearing from his father than Weber felt the same, but is not certain.
Felix Mendelssohn-Bartholdy to Heinrich Baermann, 16 April 1832 From Felix Mendelssohn-Bartholdy, Paris, 16 April 1832
To Heinrich Baermann

Source D-B, N.Mus.ep.476. No digitisation currently available.
Transcription Mendelssohn-Bartholdy, Felix, et al. Sämtliche Briefe. Kassel: Bärenreiter, 2008, vol. II p. 516–19.

Summary In the first part of the letter, which the editors of the Sämtliche Briefe suggest was probably written between 19 March and 16 April 1832, Mendelssohn describes the poor state of clarinet playing in Paris, relating an incident involving Dacosta in a concert by the Conservatoire Orchestra. He suggests that Baermann set up a clarinet school in Paris and bring Carl with him, as he (Carl) would have good prospects of making his living. Heinrich Baermann had previously told Mendelssohn he wanted to return to Paris (following his successful tour there in 1818–19) and asked him to look around for opportunities for his son. Mendelssohn reports that he had recommended Carl to Carl Graf Leutrum von Ertingen, the Theaterintendant in Stuttgart, who ‘seemed very enthusiastic about his playing and praised him highly’. In the second part of the letter, dated 16 April, Mendelssohn describing his ailments, and expresses his wish to hear Heinrich’s playing again, describing it in poetic rhyming language. The letter also includes a postscript from Karl August von Dorn.
Ich gabe zu Zeiten (z. B. jetzt) ganz Paris drum, nur einen Augenblick jene süße Welt bezaubernder Töne, Tönchen und Tönchenchenchen hören zu können, die Deinem hölzernen Instrumente so luftig, duftig, weise, leise, friedlich, niedlich, lebend, bebend, fließend, sprießend, grüßend, umschließend, entströmen und sehr gut klingen. (518)

At times ( for example now) I would give all of Paris to be able to hear for just a moment that sweet world of enchanting tones, little notes and tiny notes that flow from your wooden instrument so airy, fragrant, wise, quiet, peaceful, cute, alive, quivering, flowing, sprouting, greeting, embracing and sounding very good.
Excerpt: Mendelssohn on clarinet playing in Paris and Carl's prospects (516–7):
Die Clarinettisten sind hier nämlich in einem schlechten Zustande, so daß im Orchester des Conservatoire, das sonst in den meisten Beziehungen sehr vortrefflich ist, zwei Clarinettspieler sitzen, die Dir nicht den Rock ausklopfen dürften, wenn es in der Welt nach Ton, Vortrag, Ansatz und Billigkeit ginge. Nun setzt der erste davon neulich im Menuett der Pastoralsinfonie einen Tact zu früh mit seinem Solo ein, tutet auch munter immer weiter und merkt gar nicht, daß es infam klingt, daß mehrere im Publikum, unter andern Dein unterschriebner, schlimme Gesichter schneiden, daß der Director Leibschmerzen bekommt, drauf soli das Horn kommen, es erschrickt aber und kommt nicht, drauf erschrecken die Geigen [517] auch und spielen immer sachter, drauf wird es einer Katzenmusik immer ähnlicher, alle sind heraus und nur ein naher 2/4 Tact rettet sie von der Schande ganz aufzuhören und noch einmal anzufangen. Als ich da nach Hause ging war es sehr natürlich, daß ich mir die Geschichte überdachte und für mich ausrief: es ist zum Hinwerden, und mich gleich entschloß an Dich zu schreiben, Dir alles mitzutheilen und Dich zu fragen, ob Du damit zufrieden wärst, daß es in der Pariser Clarinettenwelt so schabig aussieht. Denn der Kerl ist Professor am Conservatoire und soll der beste hier sein und heißt glaub’ ich Dacosta. Im Ernst aber hättest Du gar keine Lust, hier eine Clarinettenpflanzschule anzulegen? Ich dächte, es wäre sehr gescheut, und müßte gut gehen; Du hattest ohnehin das Project einmal nach Paris wieder zu gehen, da fordere ich Dich denn aus allen Kräften auf, das ja zu thun, denn es fehlt ihnen an jeder guten Idee von Deinem Instrumente und so würden sie es doppelt zu schätzen wissen; auch wäre es dann sehr gut, dächt’ ich, wenn Du einen Deiner Schüler, z. B. Deinen Sohn Carl mitbrächtest, denn ich wäre überzeugt, daß er hier leicht eine gute und ehrenvolle Existenz finden könnte. Dies ist natürlich nur ein Vorschlag aber ich wollte Du überlegtest ihn; da Du ohnehin mir auftrugst mich umzusehen und Dir zu schreiben, wenn ich etwas für den Carl fände, so thue ich es hiemit, dies scheint mir eine gute Gelegenheit zu sein. Bei Leitrum habe ich vorigen Herbst auch darauf angetippt, und gesagt es würde Dir eine Anstellung für Deinen Sohn erwünscht sein, er schien auch sehr eingenommen von seinem Spiel und lobte ihn sehr, ich weiß aber nicht, ob was darauf erfolgt ist; es schien im Orchester schon besetzt zu sein.

The clarinettists here are in a poor condition, so that in the Conservatoire Orchestra, which is otherwise very excellent in most respects, there are two clarinet players who would not be able to knock your skirt off if the world were to go by tone, performance, embouchure and equity [billigkeit]. Now the first of them recently began his solo in the minuet of the Pastoral Symphony a bar too early, continued to play on and on, and didn't even realise that it sounded infamous, so that several members of the audience, including the one you signed, made terrible faces, giving the director a stomach ache, then soli the horn comes, but it is frightened and does not come, then the violins are also frightened and play more and more gently, then it becomes more and more like cat music, everyone is out and only a nearby 2/4 bar saves them from the disgrace of stopping completely and starting again. When I went home, it was very natural for me to reflect on the story and exclaim to myself: it's a shame, and I immediately decided to write to you, to tell you everything and ask you whether you would be satisfied with the fact that things are so shabby in the world of clarinets in Paris. For the fellow is a professor at the Conservatoire and is said to be the best here, and I believe his name is Dacosta. But seriously, wouldn't you like to set up a clarinet school here? I think it would be very much appreciated and should go well; you had the project to go back to Paris one day anyway, so I urge you with all my strength to do so, because they lack any good idea of your instrument and so they would appreciate it twice as much; it would also be very good, I think, if you brought along one of your pupils, for example your son Carl, because I would be convinced that he could easily find a good and honourable living here. This is of course only a suggestion, but I wanted you to consider it; since you told me to look around anyway and write to you if I found something for Carl, I will do so now, as this seems to me to be a good opportunity. Last autumn I also mentioned this to Leitrum and said that you would like to find a position for your son; he also seemed very enthusiastic about his playing and praised him highly, but I don't know whether anything was done in response; it seemed to have already been filled in the orchestra.

Post-edited Deepl translation.
Carl Baermann to Friedrich Wilhelm von Jahns, 27 February 1872 From Carl Baermann, München, 27 February 1872
To Friedrich Wilhelm von Jahns

Source D-B, Weberiana Cl. V (Mappe XIX), Abt. 5 A, Nr. 42a
Transcription Complete Works of Carl Maria von Weber. Digital Edition, Weber-Gesamtausgabe (Version 4.8.1 of August 21, 2023) Last change of this document on May 2, 2023. Open source in new window.

Summary Baermann writes that he has been much occupied by visitors. He answers a question posed by Jahns about how many performances of Der Freischutz have been given in Munich and tells of the regiment and theatre trumpet player Adam Metzkopp who has participated in every performance over 50 years. Baermann asks Jahns to communicate with the publisher Robert Lineau about a number of his works Lineau has asked to see, namely ‘clarinet compositions, my violoncello concerto and some songs’. He signs off saying that he is on his way to rehearse Das Rheingold.
Carl Baermann to Friedrich Wilhelm von Jahns, 21 August 1865 From Carl Baermann, Schliersee, 21 August 1865
To Friedrich Wilhelm von Jahns

Source D-B, Weberiana Cl. X, Nr. 24
Transcription Complete Works of Carl Maria von Weber. Digital Edition, Weber-Gesamtaugabe (Version 4.8.1 of August 21, 2023) Last change of this document on May 2, 2023. Open source in new window.

Summary Baermann apologises for not replying to Jahns’s last letter, citing the exhaustion brought on by the rehearsals for the premiere of Wagner’s Tristan und Isolde. He reports that he has been for six weeks in a Bavarian mountain village recovering and asks for Jahns’s assistance for a young musician friend who is travelling to Berlin.
Carl Baermann to Friedrich Wilhelm von Jahns, 22 April 1871 From Carl Baermann, München, 22 April 1871
To Friedrich Wilhelm von Jahns

Source D-B, Weberiana Cl. X, Nr. 29
Transcription Complete Works of Carl Maria von Weber. Digital Edition, Weber-Gesamtausgabe (Version 4.8.1 of August 21, 2023) Last change of this document on May 2, 2023. Open source in new window.

Summary Baermann writes to Jahns that he has petitioned the royal counsellor Düfflipp on Jahns’s behalf and that he can now send a copy of his Weber-Werkverzeichnisses for presentation to Ludwig II. He offers advice on what to write both to the King and to Düfflipp. In a postscript Baermann asks Jahns to send a kiss to his daughter Therese.
Carl Baermann to Friedrich Wilhelm von Jahns, 18 October 1878 From Carl Baermann, München, 18 October 1878
To Friedrich Wilhelm von Jahns

Source D-B, Weberiana Cl. X, Nr. 34
Transcription Complete Works of Carl Maria von Weber. Digital Edition, Weber-Gesamtausgabe (Version 4.8.1 of August 21, 2023) Last change of this document on May 2, 2023. Open source in new window.

Summary Baermann write to Jahns that he has been occupied with recent celebrations for the centenary of the court theatre, and encloses an unspecified document, presumably relating to a work by Weber. He regrets that he is not able to supply the same information in relation to Silvana or Abu Hassan. Baermann then writes in detail about his poor health, including pain in his feet. He also details the hearing problems and tinnitus that he suffered from for several months, even transcribing the auditory disturbance he heard, but relating that the condition has been improved by treatment. Baermann then goes on to complain about the political situation and recent events at the Reichstag, which included two assassination attempts on the Kaiser. Based on this, WeGA concludes that Baermann was a conservative (see note on transcription for further details). Baermann closes the letter asking for news of Jahns.
Carl Baermann to Friedrich Wilhelm von Jahns, 22 November 1877 From Carl Baermann, München, 22 November 1877
To Friedrich Wilhelm von Jahns

Source D-B, Weberiana Cl. IV B [Mappe XVII], zu Nr. 1349 H. (1)
Transcription Complete Works of Carl Maria von Weber. Digital Edition, Weber-Gesamtausgabe (Version 4.8.1 of August 21, 2023) Last change of this document on August 17, 2023. Open source in new window.

Summary Baermann writes of his ill health which has delayed him from assisting Jahns with his research. He encloses ‘the result of my research’ along with a playbill from the first performance of Der Freischutz in Munich. Baermann repeats the story of the trumpeter Metzkopp who took part in over 200 performances of Der Freischutz over 50 years, already related in a previous letter, reporting that Metzkopp died the previous year. He gives his opinion on a purported 3rd clarinet concerto by Weber, which he agrees is inauthentic, and jokes about its lack of compositional skill. Baermann asks Jahns for assistance in communicating with the publisher Lineau, relating that he lost of catalogue of his own compositions in a change of residence and now cannot remember which of his 131 songs have already been published or with which publisher. Finally he sends greetings of family and friends.
Friedrich Wilhelm von Jahns to Carl Baermann, 15 May 1868 From Friedrich Wilhelm von Jahns, Berlin, 15 May 1868
To Carl Baermann

Source D-B, Weberiana Cl. X, Nr. 1106
Transcription Complete Works of Carl Maria von Weber. Digital Edition, Weber-Gesamtausgabe (Version 4.8.1 of August 21, 2023) Last change of this document on May 2, 2023. Open source in new window.

Summary Jahns replies to Baermann’s letter of 14 May, thanking him affectionately for his answers and opinions, and accepts Baermann’s account of the provenance of the scores of Weber’s F Minor Concerto.. He reports that he has Weber's music for Heinrich Baermann’s name day (Burlesque, JV 180). He also warmly compliments Baermann’s opinions on the Quintet and Grand Duo Concertante. He then goes on to convey his own notes, but at this point the fragmentary letter breaks off.
Carl Baermann to Friedrich Wilhelm von Jahns, 3 May 1877 From Carl Baermann, München, 3 May 1877
To Friedrich Wilhelm von Jahns

Source D-B, Weberiana Cl. X, Nr. 33
Transcription Complete Works of Carl Maria von Weber. Digital Edition, Weber-Gesamtausgabe (Version 4.8.1 of August 21, 2023) Last change of this document on May 2, 2023. Open source in new window.

Summary A hurried letter from Baermann, who has just returned with his wife from visiting his son Fritz (Friedrich) in Ingolstadt. He reports that he can find no more information on Weber’s opera Das Waldmächen. He also mentions he has had no word from Lineau.
Carl Baermann to Friedrich Wilhelm von Jahns, 3 January 1865 From Carl Baermann, München, 3 January 1865
To Friedrich Wilhelm von Jahns

Source D-B, Weberiana Cl. X, Nr. 22
Transcription Complete Works of Carl Maria von Weber. Digital Edition, Weber-Gesamtausgabe (Version 4.8.1 of August 21, 2023) Last change of this document on May 2, 2023.

Summary Baermann expresses his pleasure at receiving a picture of Jahns. He reports on his success at discovering a collection of Theater-Zetteln, though lost in a fire in 1823, in the possession of Baroness Ellersdorf and that these have now been purchased by the Hoftheater. He also reports his discovery of the tenor aria ‘Qual’altro attendi’ in the archive of the musikalischen Akademie, along with several other works by Weber, and encloses the score of the aria. Baermann answers Jahns’s questions relating to various works including an arrangement of the clarinet concertino for oboe by the oboist Fladt, who he confirms is not related to the pianist and teacher Josepha von Flad. Baermann then discusses his views on the story that the clarinetist Simon Hermstadt commissioned a concerto from Weber which was not delivered.
In the postscript, Baermann refers to his enclosure of an autobiographical account by his father Heinrich in which Heinrich discusses his relationship with Weber, and his role in composing part of the Variations op.33; and of a concert programme from the first performance of the F minor concerto.

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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 B. Schott's Söhne, 26 November 1844 From Carl Baermann, München, 26 November 1844
To B. Schott's Söhne

Source D-B, 55 Nachl 100/B,7686. See Schott-Archiv.
Carl Baermann to Friedrich Wilhelm von Jahns, 15 April 1872 From Carl Baermann, München, 15 April 1872
To Friedrich Wilhelm von Jahns

Source D-B, Weberiana Cl. X, Nr. 30
Transcription Complete Works of Carl Maria von Weber. Digital Edition, Weber-Gesamtausgabe (Version 4.8.1 of August 21, 2023) Last change of this document on May 2, 2023. Open source in new window.

Summary Baermann writes to Jahns enclosing material from the 50th anniversary jubilee performance of Der Freischutz at the court theatre.
Carl Baermann to Friedrich Wilhelm von Jahns, 16 June 1879 From Carl Baermann, München, 16 June 1879
To Friedrich Wilhelm von Jahns

Source D-B, Weberiana Cl. X, Nr. 36
Transcription Complete Works of Carl Maria von Weber. Digital Edition, Weber-Gesamtausgabe (Version 4.8.1 of August 21, 2023) Last change of this document on May 2, 2023. Open source in new window.

Summary Baermann apologises for not replying sooner to Jahns’s last letter on account, but he has been busy ‘preparing 9 pieces of music for engraving’, as well as being visited by his daughters Fany and Marie and their children. He responds to Jahn’s enquiry about Weber's Peter Schmoll, writing that there is no record of it having been performed in Munich, and neither did his father ever mention one. Baermann writes of his plans to visit Marie in Schwintsch along with his son Carl from 15 July for 6-7 weeks, and hopes that he might meet Jahns in Berlin on his return journey in early September. He excuses his brief letter, saying he is anxious at the ‘debt of correspondence’ that was built up unanswered.
Carl Baermann to Friedrich Wilhelm von Jahns, 4 May 1872 From Carl Baermann, München, 4 May 1872
To Friedrich Wilhelm von Jahns

Source D-B, Weberiana Cl. X, Nr. 31
Transcription Complete Works of Carl Maria von Weber. Digital Edition, Weber-Gesamtausgabe (Version 4.8.1 of August 21, 2023) Last change of this document on May 2, 2023. Open source in new window.

Summary Baermann writes wryly to Jahns of his ailments. He is unable to give Jahns further information about the opera Webers Bild by Taglichsbeck but intends to try and contact Täglichsbeck’s widow to ask. He declines Jahns’s apparent offer of Täglichsbeck’s autograph for his collection but says he would welcome one of Neukomm or ‘other great Berlin artists’ such as Zelter or Devrient.
Carl Baermann to Friedrich Wilhelm von Jahns, 9 October 1879 From Carl Baermann, München, 9 October 1879
To Friedrich Wilhelm von Jahns

Source D-B, Weberiana Cl. X, Nr. 37
Transcription Complete Works of Carl Maria von Weber. Digital Edition, Weber-Gesamtausgabe (Version 4.8.1 of August 21, 2023) Last change of this document on May 2, 2023. Open source in new window.

Summary Baermann writes to Jahns in delight that his friend is still able to work. Baermann reports that he has ‘had to abstain from any exciting and strenuous work for a long time’. He also relays the news that his family is well, except that his daughter Therese lost a child to diphtheria two months previously. Baermann then discusses Jahns’s suggestion that Weber’s Peter Schmoll was performed in Munich in 1802, which Baermann disputes. He also reports that he has visited Franz Lachner on Jahns’s behalf, to ask the source of a theme Lachner uses in an (unidentified) Suite. He closes with best wishes for Jahns’s health and his family.
Friedrich Wilhelm von Jahns to Carl Baermann, 30 March 1865 From Friedrich Wilhelm von Jahns, Berlin, 30 March 1865
To Carl Baermann

Source D-B, Weberiana Cl. X, Nr. 1085
Transcription Complete Works of Carl Maria von Weber. Digital Edition, Weber-Gesamtausgabe (Version 4.8.1 of August 21, 2023) Last change of this document on May 2, 2023.
Summary Jahns replies to Baermann’s letter of 18 March, sharing his laments over the lack of time available for correspondence. Jahns discusses the differences between sources of the Peter Schmoll Overture and dedications of this and other works by Weber, disputing Max von Weber’s assertion that his father was apolitical.

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Carl Baermann to B. Schott's Söhne, 3 June 1841 From Carl Baermann, München, 3 June 1841
To B. Schott's Söhne

Source D-B, 55 Nachl 100/B,7681. See Schott-Archiv.

Notes Includes lists of compositions, presumably seeking publication.
Carl Baermann to B. Schott's Söhne, 10 May 1844 From Carl Baermann, München, 10 May 1844
To B. Schott's Söhne

Source D-B, 55 Nachl 100/B,7682. See Schott-Archiv.

Transcription pending.
Carl Baermann to B. Schott's Söhne, 22 May 1844 From Carl Baermann, München, 22 May 1844
To B. Schott's Söhne

Source D-B, 55 Nachl 100/B,7683. See Schott-Archiv.

Transcription pending.
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’.
Carl Baermann to B. Schott's Söhne, 4 October 1844 From Carl Baermann, München, 4 October 1844
To B. Schott's Söhne

Source D-B, 55 Nachl 100/B,7685. See Schott-Archiv.

Transcription pending.