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The Digital Baermann

D-Mbs

List of cited sources held at the Bayerische Staatsbibliothek, München.

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Weber: Grand duo concertant, op. 48
Composer
Carl Maria von Weber

Work title
Grand duo concertant, op. 48

Composition date
1815–16

Manuscript Sources
Autograph sketches in D-B
Autograph fair copy is digitised in US-Wc. According to Allroggen and Holsträter, these were made by Weber for his own archive, and do not derive from same source as D-B.
Engraver’s proof is in A-Wst.

Early prints
First edition, Schlesinger pl. 253 (1817), digitised by D-Mbs (see below)

Carl Baermann Edition
Robert Lineau pl. S. 5590 (1869). Commercially available as RL36080. Comparative clarinet part forthcoming.
Baermann's edition features extensive changes to phrasing and articulation, additional and changed dynamics, additional tempo and expression indications, and metronome marks in the first and second movements. He also adds rehearsal letters.
Notably, Baermann's changes to the phrasing marks tend towards replacing Weber's unusually long slurs with shorter ones, or removing them entirely, creating a more articulated and less legato effect overall.

Metronome marks:
Allegro con fuoco: minim = 116
Andante con moto: crotchet = 48
Rondo Allegro: no mark

Modern editions
Weber Sämtliche Werke VI Bd. 3., Schott WGA 1063 (2005), edited by Gerhard Allroggen and Knut Holsträter. Also published as Schott KLB 58. Gives priority to the engraver's proof (A-Wst).

Notes
For further sources, see the Weber Gesamtasugabe.
Heinrich Baermann to Kunstverein/Scheidsgericht München From Heinrich Baermann, München
To Kunstverein München

Source D-Mbs. See Kalliope.
Notes Addressed to the arbitration court of the Kunstverein.

No digitisation or transcript currently available. Please see source record for further details.
Weber: Clarinet Concerto No. 1 in F minor, op. 73 Composer
Carl Maria von Weber

Work title
Clarinet Concerto No. 1 in F minor, op. 73

Composition date
1811

Manuscript sources
Autograph score from Weber's private library in D-B ms. autogr. C. M. v. Weber WFN 11.
Autograph copy in Weber's hand, previously owned and used by Heinrich and Carl Baermann, in US-Wc ML30.8b .W4 (see below). This score contains various annotations and alterations, including the insertion of the 16-bar 'Baermann cadenza' in the first movement.

A number of annotations added and subsequently deleted from US-Wc do not have parallels in the later Baermann edition. These likely reflect the ongoing development of the Baermann's performance practices as well as what information they felt needed to be conveyed to the orchestra in rehearsal and performance. The following is based solely on examination of the digitised score; an in-person inspection may yield more information.

I b. 47: [pause symbol]
I b. 96: 'ritard'
I b. 278 indications to slow down: both Weber's hand and subsequent annotations have been excised

II 18–20: alternating Forte and Piano markings on each phrase.

III b. 124: 'poco meno'
III b. 282: 'Tempo I'
III b. 332: 'piu allegro'

Early Prints
First edition, supervised by Weber: Schlesinger pl. 1177 (1824), piano version digitised by D-Mbs 4 Mus.pr. 89.717.

Carl Baermann Edition
Robert Lineau/Schlesinger, pl. S. 1177 (1870). Available commercially as part of the Henle Urtext edition (see below), and as Lineau RL36270.
Significant additions and alterations to all aspects of the music, including the inclusion of the 16-bar 'Baermann cadenza' in the 1st movement, as well as metronome marks for movements and sections.

Metronome marks:
I Allegro: crotchet = 108
b. 110 con anima: 'Tempo ritenuto' crotchet = 92
b. 130 lusingando e con espressione: 'Con moto': crotchet = 100
b. 145: 'Tempo I': crotchet = 112
b. 170: 'Un poco ritenuto': crotchet = 92
b. 192: grazioso: 'Tempo I': crotchet = 100

II Adagio ma non troppo crotchet = 46
b. 31 Poco più animato: crotchet = 66

III 'Allegro' [Weber: Allegretto]: crotchet = 120

Modern Editions
Henle 731, edited by Norbert Gertsch. Henle (2002). Urtext version based on the MS sources and first edition, alongside Baermann's edition.
Weber Sämtliche Werke V Bd. 6., Schott WGA 1056 (2010), edited by Frank Heidlberger. Also available as Schott KLB 78 (piano reduction, first edition version only) and Eulenberg ETP 1902 (miniature score with parallel clarinet parts).

Notes
See prefaces and critical commentaries to the urtexts by Gertsch (2002) and Heidlberger (2010) for further information.

Explore further sources in the Virtual Archive relating to Baermann's edition of this work by following the path below.
Theaterzettel des Hof- und Nationaltheater D-Mbs_has_digitised_playbills_of_the_Königliches_Hof-_und_Nationaltheater_in_its_holdings_between_1805–1918._The_volumes_include_both_stage_productions_and_concerts,_though_coverage_is_not_comprehensive_and_from_1865_the_volumes_appear_to_only_contain_stage_productions. Carl_Baermann_appears_regularly_as_a_performer_in_various_contexts,_including_miscellaneous_'Vocal-_und_Instrumental-Concert[e]',_usually_given_for_the_benefit_of_a_specific_musician,_and_the_subscription_series_given_by_members_of_the_Hofkapelle_under_various_names_such_as_'abonnirtes_Konzert',_'Concert_der_Mitgleider_der_Königliche_Hofkapelle'_and_'Abonnement-Concert'._In_these_concerts,_In_these_concerts,_Baermann_performed_almost_exclusively_his_own_compositions,_though_chamber_works_by_Beethoven,_Hummel,_and_Mozart_do_begin_to_feature_occasionally_from_the_mid-1840s._Baermann's_works_were_also_performed_by_other_clarinetists,_most_often_his_Hofkapelle_colleague_Faubel_at_the_long-running_'musikalische-declamatorische_Abendunterhaltung[en]'.The_digitisations_are_OCR-searchable,_but_variant_spellings_need_to_be_included_(for_instance_'declamatorische'_and_'deklamatorische').A_full_list_of_the_holdings_and_links_to_digitised_volumes_can_be_accessed_here.
Louis Spohr to Heinrich Baermann, 2 August 1826 From Louis Spohr, Kassel, 2 August 1826
To Heinrich Baermann

Source D-Mbs
Transcription Spohr-Briefe (see below)
Summary Spohr thanks Baermann for news of the success of his opera Faust in Munich and expresses the wish to hear it performed by the Munich orchestra, which he esteems. Spohr asks that von Poißl be informed in return that his opera die Prinzessin von Provence was received favourably in Kassel, and suggests that his own relationship with Poißl seems to have deteriorated.
Heinrich Baermann to B. Schott's Söhne, 1835 From Heinrich Baermann, München, 1835
To B. Schott's Söhne

Source D-Mbs, Ana 800.A.III. Bärmann, Heinrich Joseph

No digitisation or transcript currently available. Please see source record for further details.
Heinrich Baermann to B. Schott's Söhne, 1836 From Heinrich Baermann, München, 1836
To B. Schott's Söhne

Source D-Mbs, Ana 800.A.IV. Bärmann, Heinrich Joseph. See Schott-Archiv.

No digitisation or transcript currently available. Please see source record for further details.