Overview

This study has been a reference point for understanding Baermann’s accentuation marks. It is the first to introduce sforzando in addition to accents and fortepianos (there are no forzandos). Work understanding the differentiation of these markings in their various combinations and contexts relative to articulation, melody and phrasing was one of the defining research trajectories of the middle part of the project, involving a large-scale survey of Baermann’s use of accentuation markings and later, triangulation with reference to text in his Schubert Lieder transcriptions in order to refine an aural and physical image of what the markings might mean.

As with other studies, the fundamental decision about tempo and character helped to move the approach towards a decision for the final recording. The decision was between a lingering, more restrained expression and a more impassioned, volatile one, particularly with respect to the central buildup.

[Final recording as score-follow or audio track with image of score]

Player’s guide: Key ideas to explore

• Baermann’s Adagios with metronome marks are typically very slow – so for this study, you might consider exploring a lingering character, albeit allowing the momentum to move forward in more impassioned places. To avoid feeling too static, introduce flexibility where needed.
   
• Consider exploring a flexibility between clarinet and piano in the manner of the left and right hands in a Chopin Nocturne.
   
• The buildup to the high C before letter C is an example of Baermann’s ‘expressive breath’ – where breathing is used to create a gasping, breathless buildup, like someone under the influence of strong emotion. This approach can take some getting used to, but is worth persevering with: you may find you need to breath less deeply and let go of the notes before the breaths earlier than you otherwise might.