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The Digital Baermann

Carl Baermann (correspondent)

This tag identifies letters in which Carl Baermann is the sender or recipient. To see the correspondents in alphabetical order, please to Correspondents.

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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, 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.
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, 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.
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 Jähns, 14 April 1871 From Carl Baermann, München, 14 April 1871
To Friedrich Wilhelm von Jähns

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 Jähns 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 Jähns, 16 June 1879 From Carl Baermann, München, 16 June 1879
To Friedrich Wilhelm von Jähns

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 Jähns’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 Jähns' 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 Jähns 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 Jähns, 4 May 1872 From Carl Baermann, München, 4 May 1872
To Friedrich Wilhelm von Jähns

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 Jähns of his ailments. He is unable to give Jähns further information about the opera Webers Bild by Taglichsbeck but intends to try and contact Täglichsbeck’s widow to ask. He declines Jähns’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 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 Jähns, 9 October 1879 From Carl Baermann, München, 9 October 1879
To Friedrich Wilhelm von Jähns

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 Jähns 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 Jähns’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 Jähns’s behalf, to ask the source of a theme Lachner uses in an (unidentified) Suite. He closes with best wishes for Jähns’s health and his family.
Carl Baermann to Friedrich Wilhelm von Jahns, 18 March 1865 From Carl Baermann, München, 18 March 1865
To Friedrich Wilhelm von Jähns

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 Jähns’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 Jähns, 10 December 1878 From Carl Baermann, München, 10 December 1878
To Friedrich Wilhelm von Jähns

Source Staatsbibliothek zu Berlin – Preußischer Kulturbesitz
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 Jähns briefly, on account of his poor health. He confirms that certain additional bars in the finale of Der Freischutz, which were omitted from various contemporary performance materials including those in Munich, were reinstated by von Bulow. Baermann relates the birth of two further grandchildren to his daughters Marie and Therese, bringing his total to 9. He signs off stating that his doctor wishes him to refrain from letter-writing.
Carl Baermann to Friedrich Wilhelm von Jähns, 3 January 1865 From Carl Baermann, München, 3 January 1865
To Friedrich Wilhelm von Jähns

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 Jähns. 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 Jähns’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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Carl Baermann to Friedrich Wilhelm von Jähns, 15 April 1872 From Carl Baermann, München, 15 April 1872
To Friedrich Wilhelm von Jähns

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 Jähns enclosing material from the 50th anniversary jubilee performance of Der Freischutz at the court theatre.
Carl Baermann to Friedrich Wilhelm von Jähns, 3 May 1877 From Carl Baermann, München, 3 May 1877
To Friedrich Wilhelm von Jähns

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 Jähns, 22 November 1877 From Carl Baermann, München, 22 November 1877
To Friedrich Wilhelm von Jähns

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 Jähns 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 Jähns 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.
Carl Baermann to Friedrich Wilhelm von Jähns, 30 October 1864 From Carl Baermann, München, 30 October 1864
To Friedrich Wilhelm von Jähns

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 Jähns’s efforts with regard to Weber and his music. He answers Jähns’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 Jähns 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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Vinzenz Lachner to Carl Baermann, 8 April 1867 From Vinzenz Lachner, Mannheim, 8 April 1867
To Carl Baermann

Source D-Mbs Autogr. Lachner, Vincenz
Listed in Henrici, Autographen-Sammlung, 1922, n.320. Collection of two letters, one undated.

Description from catalogue:
An den Klarinettisten Karl Bärmann, dessen Tochter an der Mannheimer Oper anzubringen er sich bemüht.

To the clarinettist Karl Bärmann, whose daughter he is endeavouring to recruit for the Mannheim Opera.

Post-edited Deepl translation
Carl Baermann to Friedrich Wilhelm von Jähns, 18 October 1878 From Carl Baermann, München, 18 October 1878
To Friedrich Wilhelm von Jähns

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 Jähns 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 Jähns.
Franz Lachner to Carl Baermann, 22 August 1861 From Franz Lachner, Tegernsee, 22 August 1861
To Carl Baermann

Source D-Mbs Autogr. Lachner, Franz Paul
Listed in Henrici, Autographen-Sammlung, 1922, 44.

Description from catalogue:
An den Klarinettisten Karl Bärmann, dem er für dessen Urlaub eine Summe Geldes vorschiesst. Beiliegend: eigh. musikal. Notizblatt 0. U. Undatiert. 1 Seite. 8°. Mit Echtheitsbestätigung durch Bärmann.

To the clarinettist Karl Bärmann, to whom he is advancing a sum of money for his holiday. Enclosed: autograph musical score, undated. 1 page. 8°. With confirmation of authenticity by Bärmann.

Post-edited Deepl translation
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 Jähns, 19 April 1868 From Carl Baermann, München, 19 April 1868
To Friedrich Wilhelm von Jähns

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 Jähns about Weber’s works. He then responds in more detail to questions about the works for clarinet and orchestra. He contests Jähns’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.
Carl Baermann to Friedrich Wilhelm von Jähns, 19 June 1869 From Carl Baermann, München, 19 June 1869
To Friedrich Wilhelm von Jähns

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 Jähns 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.
Carl Baermann to Friedrich Wilhelm von Jähns, 19 March 1872 From Carl Baermann, München, 19 March 1872
To Friedrich Wilhelm von Jähns

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 Jähns 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 Jähns, 21 August 1865 From Carl Baermann, Schliersee, 21 August 1865
To Friedrich Wilhelm von Jähns

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 Jähns’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 Jähns’s assistance for a young musician friend who is travelling to Berlin.
Carl Baermann to Friedrich Wilhelm von Jähns, 14 May 1868 From Carl Baermann, Munich, 14 May 1868
To Friedrich Wilhelm von Jähns

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 Jähns’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 Friedrich Wilhelm von Jähns, 21 November 1876 From Carl Baermann, München, 21 November 1876
To Friedrich Wilhelm von Jähns

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 Jähns 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 Jähns, 22 April 1871 From Carl Baermann, München, 22 April 1871
To Friedrich Wilhelm von Jähns

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 Jähns that he has petitioned the royal counsellor Düfflipp on Jähns’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 Jähns, 27 February 1872 From Carl Baermann, München, 27 February 1872
To Friedrich Wilhelm von Jähns

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 Jähns 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 Jähns 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.
Friedrich Wilhelm von Jähns to Carl Baermann, 14 May 1879 From Friedrich Wilhelm von Jähns, Berlin, 14 May 1879
To Carl Baermann

Source D-Hs, Hs. Mappe Nr. 10
See also 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 June 23, 2023. Open source in new window. No digitisation or transcription currently available.

Summary "Mentions Baermann's last letter of 18 October 1878, complains about the bad weather since January, asks about his ear problems, his own illnesses, he is now 70. Asks him to enquire whether Peter Schmoll was performed in Munich in 1802, Schletterer in Augsburg owns a libretto of it with the publication date: Weber himself only mentions one performance in Augsburg in his autobiography, he wanted to leave no stone unturned for his supplement to the WV." Post-edited Deepl translation of WeGA summary.
Moritz Hanemann to Carl Baermann, 4 May 1869 From Moritz Hanemann, Berlin, 4 May 1869
To Carl Baermann

Source CH-SGv. See Swisscollections.

Digitisation obtained, pending transcription. Please see source record for further details.
Karl Kliebert to Carl Baermann, 20 May 1880 From Karl Kliebert, Würzburg, 20 May 1880
To Carl Baerman

Source CH-SGv. See Swisscollections.

Digitisation obtained, pending transcription. Please see source record for further details.
Christoph Ernst Friedrich Weyse to Carl Baermann, 21 July 1830 From Christoph Ernst Friedrich Weyse, Copenhagen, 21 July 1830
To Carl Baermann

Source Listed in Henrici, Autographen-Sammlung, 1922, n.660.

Description from catalogue:
"An den Klarinettisten Karl Bärmann, den er um Rückgabe einer von ihm komponierten Partitur bittet."

"To the clarinettist Karl Bärmann, whom he asks to return a score he has composed."

Post-edited Deepl translation
Maria Mösner to Carl Baermann, 26 December 1858 From Maria Mösner, Würzburg, 26 December 1858
To Carl Baermann

Source CH-SGv. See Swisscollections.

Digitisation obtained, pending transcription. Please see source record for further details.
Wilhelm Taubert to Carl Baermann, 17 June 1873 From Wilhelm Taubert, Berlin, 17 June 1873
To Carl Baermann

Source Listed in Henrici, Autographen-Sammlung, 1922, 79.

Description from catalogue:
Ausführlicher Brief an Carl Bärmann. Er ist stark mit der Komposition seiner Oper „Cesario" beschäftigt und begründet damit sein langes Stillschweigen.

Detailed letter to Carl Bärmann. He is very busy composing his opera "Cesario" and explains his long silence.

Post-edited Deepl translation
Heinrich Panofka to Baermann, 18 November 1839 From Heinrich Panofka, Paris, 18 November 1839
To Baermann(?)

Source Listed in Liepmannssohn, Leo. Katalog (Nr. 174): Musiker-Autographen: darunter viele eigenhändige Musik-Manuscripte ; Bach, Beethoven, Berlioz ... Berlin: Leo Liepmannssohn, Antiquariat, 1910.

Description from catalogue:
“Mit eigenhändiger Adresse an den Klarinettisten Baermann. Erwähnt Mendelssohn, Meyerbeer u. A.”

"With handwritten address to the clarinettist Baermann. Mentions Mendelssohn, Meyerbeer and others."

Post-edited Deepl translation
Wilhelm Taubert to Carl Baermann, 14 October 1860 From Wilhelm Taubert, Berlin, 14 October 1860
To Carl Baermann

Source Listed in Hellmut Meyer und Ernst, Autographenhandlung und Antiquariat. Lager-Katalog: Historische Bilder und Autographen aller Gebiete [No. 65]. Berlin: Hellmut Meyer & Ernst, [1938].

Description from catalogue:
An Carl Baermann über seine Oper Macbeth, „die ich gern in München aufgeführt hätte, nachdem ihr Erfolg' in Berlin, Stettin und Breslau ein sicherer gewesen ist …"

To Carl Baermann about his opera Macbeth, "which I would have liked to have performed in Munich after its success in Berlin, Stettin and Breslau ..."

Post-edited Deepl translation
Wilhelm Gail to Carl Baermann, 8 March 1874 From Wilhelm Gail, München, 8 March 1874
To Carl Baermann

Transcription Inlibris
An den Klarinetten- und Bassetthornvirtuosen Carl Baermann in Erinnerung an deren gemeinsam verbrachte Sommerfrische im oberbayerischen Schliersee: "Ihrem Wunsche gemäß schreibe ich Ihnen diese Zeilen, wir kennen uns schon lange, erinnern Sie Sich noch der schönen Tage in Schliersee? Und so bitte ich auch meiner dabey manchmal zu denken [...]".

To the clarinet and basset horn virtuoso Carl Baermann in memory of their summer holiday together in Schliersee in Upper Bavaria: "In accordance with your wish, I am writing you these lines, we have known each other for a long time, do you still remember the beautiful days in Schliersee? And so I also ask you to think of me sometimes [...]".

Post-edited Deepl translation
Leopold Damrosch to Carl Baermann From Leopold Damrosch, New York, 2 February [1872?]
To Carl Baermann

Source CH-SGv. See Swisscollections.

Digitisation obtained, pending transcription. Please see source record for further details.
Heinrich Wilhelm Ernst to Carl Baermann, 30 September 1840 From Heinrich Wilhelm Ernst, München, 30 September 1830
To Carl Baermann

Source Listed in Henrici, Autographen-Sammlung, 1922, 35.

No further details available.
Franz Lizst to Carl Baermann, 2 November 1860 From Franz Lizst, Weimar, 2 November 1860
To Carl Baermann

Source Listed in Henrici, Autographen-Sammlung, 1922, 48.

Description from catalogue:
4 Seiten ... An den Klarinettisten Karl Bärmann. Schöner Brief, erwähnt Hebbel, der seine Mutter besuchen will, sowie Richard Wagner und spricht über eigene Arbeiten: „Ich instrumentierte (für E. Genast) 4 Schubert'sche Lieder — Erlkönig — die junge Nonne — Lied der Mignon (ziemlich unbekannt, aber zaubervoll in seiner Einfachheit) und Gretchen am Spinnrad — und nächste Woche soll auch die Instrumentierung der Loreley, Mignon und der 3 Zigeuner fertig geschrieben sein.

4 pages ... To the clarinettist Karl Bärmann. Nice letter, mentions Hebbel, who wants to visit his mother, as well as Richard Wagner and talks about his own works: "I orchestrated (for E. Genast) 4 Schubert songs - Erlkönig - die junge Nonne - Lied der Mignon (quite unknown, but enchanting in its simplicity) and Gretchen am Spinnrad - and next week the orchestration of Loreley, Mignon and der 3 Zigeuner should also be finished.

Post-edited Deepl translation
Johann Joseph Abert to Carl Baermann, 27 May 1874 From Johann Joseph Abert, Stuttgart, 27 May 1874
To Carl Baermann

Source CH-SGv. See Swisscollections.

Digitisation obtained, pending transcription. Please see source record for further details.
Bernhard von Gudden to Carl Baermann, 3 January From Bernhard von Gudden, München, 3 January [year unknown]
To Carl Baermann

Source CH-SGv. See Swisscollections.
Notes Only the envelope is extant.
Wilhelm Taubert to Carl Baermann, 26 December 1843 From Wilhelm Taubert, Berlin, 26 December 1843
To Carl Baermann

Transcription Erdt, Der Münchner Klarinettenvirtuose Carl Baermann, 346.
Summary Taubert apologises to Baermann for the slow response to his last letter, which enquired about the possibility of Taubert joining him (and possibly the cellist Joseph Menter) on a concert tour. Taubert says that [Theodor] Kullak will also not be inclined to leave Berlin at this time, but recommends his former student Alexander Emst Fesca (1820-1849) as the ideal companion: “Young, independent, lively, agile, used to travelling, talented and practical, and even if he is not at your and Menter's level as a virtuoso, he will be the man you need.” (346). Taubert then discusses the prospects for Baermann’s ‘further plans for Berlin’, which appear to involve procuring a position in the Kapelle. He reports of the success of the winter symphony concerts, directed by Mendelssohn, and writes that ‘the virtuosos are doing bad business’ as a result, suffering from empty halls. Taubert suggests that touring is more lucrative. Finally, he sends his regards to Menter and news of his family.
Max von Pettenkofer to Carl Baermann, 3 June 1874 From Max von Pettenkofer, München, 3 June 1874
To Carl Baermann

Source Listed in Henrici, Autographen-Sammlung, 1922, 143.

Description from catalogue (Also enclosed, a manuscript of a contribution to a scientific journal, and a carte de visite):
An Carl Baermann. „Aus meinen Vorträgen: Über den Werth der Gesundheit für eine Stadt."Er stellt darin fest, dass die Menschen von den 365 Tagen des Jahres durchschnittlich 20 Tage krank seien, und betrachtet es als Aufgabe der öffentlichen Gesundheitspflege, diese „Krankheitssteuer" nach Möglichkeit zu ermässigen.

To Carl Baermann. "From my lectures: On the value of health for a city." In it, he notes that people are ill on average 20 days out of the 365 days of the year and considers it the task of public health care to reduce this "disease tax" as far as possible.

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
Johann Christoph Lauterbach to Carl Baermann, 14 October 1864 From Johann Christoph Lauterbach, Dresden, 14 October 1864
To Carl Baermann

Source CH-SGv. See Swisscollections.

Digitisation obtained, pending transcription. Please see source record for further details.
Franz Friedrich von Holstein to Carl Baermann, 5 December 1874 From Friedrich Franz von Holstein, Leipzig, 5 December 1874
To Carl Baermann

Source CH-SGv. See Swisscollections.

Digitisation obtained, pending transcription. Please see source record for further details.
Ernst Pauer to Carl Baermann, 11 December 1845 From Ernst Pauer, 11 December 1845
To Carl Baermann

Source CH-SGv. See Swisscollections.

Digitisation obtained, pending transcription. Please see source record for further details.
Johann Joseph Abert to Carl Baermann, 21 August 1875 From Johann Joseph Abert, Stuttgart, 21 August 1875
To Carl Baermann

Source CH-SGv. See Swisscollections.

Digitisation obtained, pending transcription. Please see source record for further details.
Schunke to Carl Baermann, 8 August 1852 From Schunke, Tegern[?], 8 August 1852
To Carl Baermann

Source CH-SGv. See Swisscollections.

Notes Tegern probably refers to Tegernsee.

Digitisation obtained, pending transcription. Please see source record for further details.
Karl Evers to Carl Baermann, 1867 From Karl Evers, Graz, 1867
To Carl Baermann

Source CH-SGv. See Swisscollections.

Digitisation obtained, pending transcription. Please see source record for further details.
Ernst II to Carl Baermann, 20 February 1876 From Ernst II, Duke of Saxe-Coburg and Gotha, Gotha, 20 February 1876
To Carl Baermann

Source CH-SGv. See Swisscollections.

Digitisation obtained, pending transcription. Please see source record for further details.
Fanny Cäcilie Hensel to Carl Baermann From Fanny Cäcilie Hensel
To Carl Baermann

Source Listed in Henrici, Autographen-Sammlung, 1922, n.277

Excerpt from catalogue:
Ich möchte wol noch einmal mit Ihnen Musik machen, u. namentlich die Sonate von Weber gern mit Ihnen spielen . . . .

I would like to make music with you once again, and in particular I would like to play Weber's sonata with you . . . .

Post-edited Deepl translation
August Müller to Carl Baermann, 21 September 1852 From August Müller, Darmstadt, 21 September 1852
To Carl Baermann

Source CH-SGv. See Swisscollections.

Digitisation obtained, pending transcription. Please see source record for further details.
Rudolph Joseph Schachner to Carl Baermann, 20 February 1867 From Rudolph Joseph Schachner, London[?], 20 February 1867
To Carl Baermann

Source CH-SGv. See Swisscollections.

Digitisation obtained, pending transcription. Please see source record for further details.
Jakob Rosenhain to Carl Baermann, November 1876 From Jakob Rosenhain, Baden-Baden, November 1876
To Carl Baermann

Source CH-SGv. See Swisscollections.

Digitisation obtained, transcription pending. Please see source record for further details.
Johann Gottlieb Kotte to Carl Baermann, 21 August 1856 From Johann Gottlieb Kotte, Dresden, 21 August 1856
To Carl Baermann

Source CH-SGv. See Swisscollections.

Digitisation obtained, pending transcription. Please see source record for further details.
Josef Krejči to Carl Baermann, 29 March 1877 From Josef Krejči, Prague, 29 March 1877
To Carl Baermann

Source CH-SGv. See Swisscollections.

Digitisation obtained, pending transcription. Please see source record for further details.
Carl Baermann to Herrn. J. André, 22 November 1856 From Carl Baermann, München, 22 November 1856
To Herrn. J. André

Transcription Erdt, Der Münchner Klarinettenvirtuose Carl Baermann, 350 and 359.
Summary Following on from a previous letter (whereabouts unknown), Baermann writes to André giving further details and sample pages of the Vollständige Clarinett-Schule. He explains the rationale behind its design and describes each section. He also includes a selection of other pieces for publication, including his cello concerto, and promises a new work for two clarinets and piano which is currently ‘in sketches’.
In an addendum, he suggests that payment for the works could take the form of piano scores for his son, Carl Jnr. Finally, he asks that André take care not to lose his manscripts as he has previously had ‘a very unpleasant experience with Schott in Mainz’.
Notes Erdt p. 359 is an apparent postscript - Listed after the rest of the letters, separate from the other letter of this date.
Excerpt: Baermann on his plans for the Vollständige Clarinett-Schule
Sehr geehrter Herr!
Ich übersende Ihnen hiermit die Musiklaien welche ich Ihnen in meinem letzten Schreiben zum Verlag angeboten zur gefälligen Einsicht, und bitte dieselben einer genauen Prüfung zu unterwerfen. Ich hätte nicht so lange damit gezögert wenn die Piecen des ersten Theiles meiner Schule nicht noch als Skizze unausgearbeitet würden gewesen sein. Da Sie aber nach Ihren geehrten Schreiben zu urtheilen, sich von meiner Beschreibung der Schule noch kein klares Bild machen konnten, so war es nöthig wenigstens von einigen Nummern des ersten Theils ebenfalls einige Piecen fertig zu arbeiten u. dieß veranlaßte die Verzögerung. Ich erlaube mir nun die Schule Ihnen nochmals zu detailiren. Der erste Theil wird nun nebst einer vollständigen Grifftabelle der neu construirten Clarinette und verschiedenen Paragraphen über Behandlung, Vortheile derselben, und über Vortrag & alles enthalten was eben zu einer vollständigen Schule unumgänglich nöthig ist. Die Absicht meiner Schule ist das Notwendige mit dem Angenehmen zu verbinden, so daß die Schwierigkeiten so viel als möglich melodisch darin geboten sind, denn es ist wohl ganz klar das der Schüler dieselben lieber studirt, wenn er zugleich ein angenehmes Musikstück damit sich einstudirt. Aus diesem Grund, und zugleich auch daß der Schüler harmonisch gebildet wird, da die Beispiele selbst unter bedeutenden Künstlern nicht selten sind die von Harmonie keinen Begriff haben, habe ich Clavier Begleitung dazu gesetzt, und ich glaube daß Sie mir nach genauer Prüfung der Musikstücke beistimmen werden. Ich habe Ihnen den Anfang der praktischen Schule beigelegt damit Sie leichter ein Bild derselben erhalten. Die Ordnung des ersten Theiles werden Sie damit leicht ersehn, und er wird so fortgeführt wie er begonnen nämlich von jeder Tonart sowohl Dur als Moll werden 2 Nummern folgen, womit dann der erste Theil schließt. Der 2‘ Theil beginnt mit großen Scalen Terzen Sexten Oktaven und andern nöthigen Fingerübungen welche noch nicht ganz ins Reine geschrieben sind, was davon so weit geschrieben ist habe ich ebenfalls beigelegt. Diesem folgen nun die größern Etüden. Jede dieser Etüden hat einen schwierigen Griff des Instruments zur Unterlage und bildet dennoch ein brillantes Salonstück. Unter sich beruhen [sic] diese Etüden alle verschiedenen Gattungen der Musikstücke, welches ich auch schon beiden Piecen des ersten Theiles streng berücksichtigt habe, was Sie auch leicht bemerken werden. Der dritte Theil wird alle schwierigen Stellen & Passagen aus meinen vielen großen aber noch ungedruckten Concerten enthalten, jedoch natürlich ohne Clavier Begleitung, blos zum technischen Selbst Studium.
...
So umfangreich auch dieselbe werden wird, so wird sie gewiß ein Schatz für alle Clarinettisten werden, da außer den wenigen Piecen von Spohr & Weber eine schreckliche Armuth in diesem Theil der Musik herrscht, u. was von andern dafür geschrieben ist größtentheils so abgeschmackte u. nichtssagende Musik ist, daß einen [sic] Musiker bei de[] ersten Tackte schon die Lust am Studiren vergeht.

Dear Sir!
I am sending you herewith the music sheets which I offered to publish in my last letter for your kind perusal, and ask you to examine them carefully. I would not have hesitated so long if the pieces of the first part of my school had not still been unfinished sketches. But since, judging from your honoured letters, you were not yet able to form a clear picture of my description of the school, it was necessary to finish at least some of the pieces of the first part and this caused the delay. I now take the liberty of detailing the school for you once again. The first part will now contain, in addition to a complete fingering chart of the newly constructed clarinet and various paragraphs on its handling, [its] advantages and about performance, and everything that is absolutely necessary for a complete school. The intention of my school is to combine the necessary with the pleasant, so that the difficulties are presented as melodically as possible, for it is quite clear that the pupil prefers to study them if he is at the same time rehearsing a pleasant piece of music. For this reason, and also so that the pupil is educated harmonically, since examples are not uncommon even among important artists who have no concept of harmony, I have added piano accompaniment, and I believe that you will agree with me after careful examination of the pieces of music. I have enclosed the beginning of the practical school to make it easier for you to get a picture of it. You will easily see the order of the first part, and it will be continued as it began, namely 2 numbers will follow from each key, both major and minor, with which the first part then concludes. The 2nd part begins with major scales, thirds, sixths, octaves and other necessary finger exercises which are not yet written in their entirety; I have also included what has been written so far. This is now followed by the larger etudes. Each of these etudes is based on a difficult fingering of the instrument and yet forms a brilliant salon piece. These etudes are based on all the different genres of musical pieces, which I have already carefully considered in both volumes of the first part, as you will easily observe. The third part will contain all the difficult passages from my many large but as yet unprinted concertos, but of course without piano accompaniment, merely for technical self-study.
...
As extensive as it will become, it will certainly be a treasure for all clarinetists, since apart from the few pieces by Spohr & Weber there is a terrible poverty in this area of music, and what is written for it by others is for the most part such tasteless and meaningless music that a musician loses the desire to study it at the very first touch.

Post-edited Deepl translation
George Aloys Schmitt to Carl Baermann, 28 November 1867 From George Aloys Schmitt, Büren[?], 28 November 1867
To Carl Baermann

Source CH-SGv. See Swisscollections.

Digitisation obtained, pending transcription. Please see source record for further details.
Ernst Frank to Carl Baermann, 24 February 1878 From Ernst Frank, Frankfurt am Main, 24 February 1878
To Carl Baermann

Source CH-SGv. See Swisscollections.

Digitisation acquired, pending transcription. Please see source record for further details.
Eduard Grund to Carl Baermann From Eduard Grund, Meiningen
To Carl Baermann

Source CH-SGv. See Swisscollections.

Digitisation obtained, pending transcription. Please see source record for further details.
Clara Schumann to Carl Baermann, 23 January 1858 From Clara Schumann, Stuttgart, 23 January 1858
To Carl Baermann

Source Listed in Henrici, Autographen-Sammlung, 1922, n.523
Note The Schumann-Briefendatabank lists the recipient of this 6-page letter as Carl Baermann Jnr (1839–1913). However, based on the date and Schumann's later comments about Baermann Jnr, it is more likely that this correspondence is addressed to Baermann Snr. In a letter to Emilie List of 14 February 1858, Schumann refers to socialising with "Freund Bärmann" during a visit to Munich in late 1857 or early 1858. There are further references, including enclosures for Baermann and Rheinberger in a letter to List of 7 September 1860. However on 17 November 1860 she writes "Herrn Reinberger grüße von mir. Bärmann ist aber ein unhöflicher Mensch" ("Give my regards to Mr Reinberger. But Bärmann is a rude man."). In a letter to Bernhard Scholz of 9 December 1892, Schumann refers to reports of Baermann Jnr's playing as if they have never met, indicating that all the previous references are likely to his father.

Description from catalogue:
An Carl Bärmann. Schöner Brief über ihre künstlerischen und privaten Erlebnisse der letzten Zeit.

To Carl Bärmann. Nice letter about her recent artistic and private experiences.

Post-edited Deepl translation