This page is referenced by:

• 1 2026-02-12T12:32:19+00:00 Mendelssohn: Konzertstück No.1, Op.113 5 Sources and editions plain 2026-02-13T14:07:42+00:00 Composer
  Felix Mendelssohn
  
  Work title
  Konzertstück [Concertstück] No.1, Op.113
  
  Composition date
  1832
  
  Selected manuscript sources
  Autograph piano version held in US-Wc  ML96. M45 Case (not digitised, currently not listed in online catalogue).
  Autograph of orchestral version available at F-Pn  Ms. 209.
  Manuscript fragment of title page with authenticated annotations by Mendelssohn available at US-NYj, 27 M523ko op. 113 .
  
  Carl Baermann edition
  André pl. 10056 (c. 1869). Available at D-Dl Mus.5543.Q.501-1
  Baermann's edition is the first published version of the work. It contains extensive additional dynamics, articulations, and expression markings as well as metronome marks and expanded cadenzas for both instruments in the introduction.
  
  Metronome marks:
  Allegro con fuoco: crotchet  = 138
  Andante: dotted crotchet = 40
  Presto: dotted crotchet = 116
  
  Modern critical editions
  Henle 1067, edited by Frank Heidelberger (2015). Urtext version based on autograph piano and orchestral versions.
  
  Notes
  See prefaces and critical commentary to the edition by Heidlberger (2015) for further information.
  
   
• 1 2026-02-12T12:46:46+00:00 Mendelssohn: Konzertstück No.2 , Op.114 3 Sources and Editions plain 2026-02-12T16:12:45+00:00 Composer
  Felix Mendelssohn
  
  Work title
  Konzertstück [Concertstück] No.2, Op.114
  
  Composition date
  1833
  
  Selected manuscript sources
  Autograph piano version held in S-Smf MS 926 (not digitised).
  Manuscript of orchestral version in unknown hand, arrangement attributed to Carl Baermann, available at D-Mbs Mus.ms. 2353.
  
  Carl Baermann edition
  André pl. 10056 (c. 1869). Available at D-Dl Mus.5543.Q.501-1
  Baermann's edition of the piano version is the first published version of the work. It contains extensive additional dynamics, articulations, and expression markings as well as metronome marks and expanded cadenzas for both instruments in the introduction.
  
  Metronome marks:
  Presto: minim = 116
  Andante: quaver = 88
  Allegro gracioso: crotchet = 108
  
  Modern critical editions
  Henle 1067, edited by Frank Heidelberger (2015). Urtext version based on autograph piano and orchestral versions.
  
  Notes
  See prefaces and critical commentary to the edition by Heidlberger (2015) for further information.
• 1 2025-06-13T14:03:24+01:00 References 2 plain 2026-03-20T07:49:05+00:00

  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
  
  Weston, Pamela. Clarinet Virtuosi of the Past. London: Robert Hale, 1971.

  Online databases

  Hofmeister XIX
• 1 2025-06-13T14:03:07+01:00 Muzio Clementi to Heinrich Baermann, March/April 1819 1 Letter details with transcription plain 2025-06-13T14:03:07+01:00 1 April 1819 Heinrich Baermann Muzio Clementi From Muzio Clementi, March/April 1819
  To Heinrich Baermann
  
  Source D-Dl, Mus.Schu.41
  Transcription Emily Worthington
  Notes D-Dl dates this letter c. 1810 but Baermann's appearances at the Philharmonic Society in London took place on 15 March and 26 April 1819. In the first concert Baermann performed a 'Fantasia' of his own composition; in the second, his 'Septett  (MS.)  for  Clarinet,  Strings  and  two  Horns'.
  
  Source: Foster, Myles Birket. History of the Philharmonic Society of London 1813-1912 : a Record of a Hundred Years' Work in the Cause of Music. London: John Lane, 1912.

  “Dimanche matin
  
  Mon cher Mons. Baermann
  
  J’ai été chez Watts, Secretaire de la Societé Philharmonique, qui m’a dit que la Soirée de Mardi prochain est destinée aux Symphonies et Ouvertures, et comme on espère que les Directeurs vous priseront de jouer en-core une fois, ce sera [?assez] de répeter vôtre Concertino le jour de la Repétition.
  
  je suis,
  avec admiration pour vôtre talent très distingué, vôtre très humble serv. 
  Muzio Clementi”
  
  "Sunday morning
  
  My dear Mons. Baermann
  
  I went to see Watts, Secretary of the Philharmonic Society, who told me that next Tuesday evening's Soirée is destined for Symphonies and Overtures, and as we hope the Directors will like you to play once more, it will be [?enough] to rehearse your Concertino on the day of the Rehearsal.
  
  I am,
  with admiration for your distinguished talent, your most humble servant. 
  Muzio Clementi"
  
  Post-edited Deepl translation