Overview

This is the first variation set in the Clarinett-Schule. It raises important questions related to the practice of playing variations (in particular characterisation and tempo), and more generally contributes further to the investigation of breathing, phrasing and rubato (particularly within running passagework). Though Baermann’s fingering indications mostly reinforce his general principles in relation to the choice of forked versus keyed fingerings, the instances where these rules are apparently broken have implications for rubato and phrasing. This is also the first place that Baermann introduces the tenuto mark, which he explains means a slight lingering on the note (‘dieselbe Note etwas anhalten, auf welcher dasselbe steht’).

Work on this study also drew on the example of Carl Eßberger’s 1906 recording of Luigi Bassi’s Fantasie über Motiv aus Rigoletto, in relation to the handling of breaths and passagework as well as the characterisation of the main theme. Cycles of listening, practice and reflection with reference to the recording led me to adopt more spacious tempi in all of the variations, in part to accommodate the breathing/phrasing indications and their associated implications for rubato.

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

Player’s guide: Key ideas to explore

• In his later publications, Baermann usually gives different metronome marks for different variations of a set. Consider varying the tempo of each variation as part of a different characterisation. The piano ritornelli can also be characterised quite differently each time and in their own tempi.
   
• Don’t be afraid to explore quite pronounced rubato in variations 1 and 2, by lingering on individual notes (particularly, but not only, those with tenuto marks), slowing over the peaks of hairpins, and taking more time over the shorter phrases that are ‘bracketed’ by breaths. Even the final variation can be approached flexibly and with clear delineation of the phrase characters – something that is easier in a relaxed and easygoing tempo rather than a fast and fiery one.
   
• Although early recordings such as Eßberger’s use a fairly uniformly forte tone in passagework, this is likely in part a reaction to the limitations of the early recording process.

Research reflection

Along with the preceding study, this variation set proved the most challenging of the first group of 8 studies. The initial play-throughs felt relatively successful, but my attempts to better incorporate the breath/phrase marks and find a convincing character for each variation as well as the arc of the whole piece led us through multiple cycles of exploration. Workshops in February and April 2024 focussed on working to develop a functioning flexibility between clarinet and piano in each variation, and myself working out how to find time for the breaths and breaks of phrasing which maintaining some sort of coherent momentum.

In the final cycle of preparation, for the October 2024 recording, I used a close-listening analysis of  Carl Eßberger’s recordings of Bassi's Fantasie über Motiv aus Rigoletto from 1906 and 1907 to deepen my understanding of performance style in variations sets. The following observations in relation to Eßberger helped refine my approach to Baermann's variations:

- Demi-semi passages were not particularly fast - the character is controlled, with very fluid legato
- In passages that jump between the low and high register, the two ‘voices’ are clearly marked out by articulation and timing
- Eßberger breathes very frequently, and also uses expressive breathing in the main theme
- Breaths are freely taken in running passage-work, in accordance with Baermann's advice, and the locations are sometimes varied on repeats
- Breaths are often framed by the preceding note being played early
- The relationship between the clarinet and accompaniment is almost totally disengaged. This is likely an exaggeration of a more moderate practice that has been exaggerated by the recording situation.

Baermann's fingerings in places also imply timing flexibility. Usually, he completely avoids any fingering that would require a slide between a key and a hole. However, in variations 1 and 2 there are instructions to use the L4 key for a Bb'' that is followed by a G'', a combination that would result in a slide. While this could be a misprint, in both instances it occurs at the climax of a hairpin, in a context where rubato makes musical sense and also makes space for the fingering to be employed without sliding.

Taking all of this evidence together, my interpretation of this piece gained ever greater flexibility of timing and strong characterisation through rhythm and rubato, resulting also in a resulting flexibility of ensemble with the piano.