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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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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.
Vinzenz Lachner to Carl Baermann, 8 April 1867 From Vinzenz Lachner, Mannheim, 8 April 1867
To Carl Baermann

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

Source 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
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.