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• 1 2026-02-12T17:16:01+00:00 Compositions 26 Catalogue of original compositions by Carl Baermann visual_path 4390 2026-03-20T08:39:12+00:00

  Overview

  Carl Baermann was an accomplished composer whose music was highly regarded and widely performed during his lifetime. The surviving works listed here consist primarily of music for clarinet and piano, and clarinet with orchestra. However, Baermann was also a prolific composer of vocal music: in a letter to Jähns in 1877, he refers to having composed 131 Lieder, of which 6 have been identified here. His correspondence also refers to a cello concerto, of which sadly only a sketched piano reduction has been identified; and an oboe concertino and other pieces for oboe, which are currently lost. 

  Dating

  It is difficult to ascertain exact dates of composition for most of Baermann’s works. For works with distinctive titles, some indication can be gained from records of performances at the Munich court, but as the concert listings rarely include opus numbers, it is difficult to disambiguate those with generic titles. Baermann’s use of opus numbers when referring to works in correspondence is also infrequent, which is frustrating for identifying the pieces he is referring to and also raises the question of the point at which opus numbers were assigned. It is clear, however, that he did intend his opus numbers do relate to chronology of composition: in a letter to Schott's of 8 March 1842, Baermann writes: “I wish for the opus number to appear as I have written it on each manuscript, as they were assigned that way intentionally—to see whether the later compositions are better than the earlier ones”. 

  Publication dates, particularly for the works published by Schott’s, should not be taken to indicate period of composition, due to the often very long delay between Baermann supplying scores to his publishers and their being issued. The inclusion of a completion date of 2 July 1843 on the manuscript of the Introduction and Rondo op. 36 suggests that all of the preceding works date from prior to 1843. The composition of the Vollständige Clarinett-Schule opp. 63 and 64 from c. 1855–7 offers another point of reference, suggesting that Baermann’s works in the range op. 37–57 date from the mid-1840s to the early-1850s. This aligns with a reference in the programme for a court Abonnement-concert on 1 January 1847 to Baermann performing a Concertstück ‘zum Erstenmale’, likely a reference to either the Concertstück in D minor op. 44, or Concertstück in E flat major op. 49.

  Missing works and unattributed opus numbers

  Baermann kept a catalogue of his works, which he had to reconstruct after it became lost during a relocation, and which is non longer extant. His opus numbers range up to at least op. 88, of which 40 are currently accounted for: out of those 40, 30 are currently available in their entirety, with the remaining 10 excerpted in vol. V of the Vollständige Clarinett-Schule. The excerpted works are mostly concertos, as well as the Fantasie Orientale op. 22, Geisterstunde op. 29, and Elegie op. 55.

  C. 1874 Baermann published a collection of four volumes containing 12 pieces for clarinet and piano, under the title Fantasiestücke und Lieder, op. 84–87. It is possible that these pieces, along with the many lost compositions for voice, may account for some of the unattributed opus numbers. He is also known to have re-worked pieces and assigned a new opus, as in the case of the Fantasie op. 7, reworked for two clarinets as the Duo Concertante op. 33.  The other likelihood is that some of the 38 accompanied studies included in the Clarinett-Schule were originally pre-existing standalone compositions with their own opus numbers: this is supported by the inclusion of the opening section of Ein Traum op. 47 under the guise of etude no. 34 in volume II. Furthermore, when Baermann initially proposed the Clarinet–Schule to Schott’s in a letter of 29 April 1856, he referred to the second volume containing ‘about 70 to 80 specially composed exercises, and about three pieces with piano accompaniment’; yet by the time he approached André in November of the same year, it had taken the form of two studies in each key with piano accompaniment, a significant increase in the amount of material needed. While his correspondence with André in 1856–7 makes it clear he was creating much material specifically for the school, it remains a strong possibility that more of the etudes in vol. II were based on already-existing concert pieces. 

  Baermann and his publishers

  Broadly speaking, Baermann’s earlier works published by B. Schott’s Söhnen in Mainz, his later works by Johan André in Offenbach-am-Main, and his editions by Robert Lineau in Berlin. Baermann’s side of his correspondance with Schott’s and André reveals much about his working practices, his relationship with both publishers and his wishes for the publications of his works. 

  Though Baermann’s father had had some correspondence with Schott’s in the 1830s, Baermann’ relationship with them appears to have been instigated by their approaching his colleague Joseph Faubel c. 1841, after Faubel performed one of Baermann’s works. Baermann responded to their Schott’s interest by offering them a range of smaller and larger works, many of which were gradually published over the subsequent years (letter of 3 June 1841).  Baermann’s letters also reveal his concern over the details of his scores, and in particular the wording of their title pages and dedications. Baermann’s letters showing him trying to maintain a good relationship with the firm despite the apparent laxity of Schott’s operations: he complains at various points that proof copies were riddled with errors, that dedications were left off title pages (causing him some embarrassment), and that he was not supplied with copies of his published works or even notified that they had come out. The delays between manuscripts being supplied and being published are also notable, amounting to years at a time: a situation that essentially held Baermann hostage, as he evidently did not routinely keep his own copies of works supplied to the publisher.

  Despite these issues, and receiving offers from publishing houses in Vienna and Leipzig, Baermann remained loyal to Schott's until 1856, even offering them the opportunity to publish his Clarinett-Schule. However, later the same year, he apparently finally gave up, approaching the firm of Johan André instead with the project, citing his ‘unpleasant experiences’ with his former publisher (letter of 22 November 1856).  Though Schott's continued issuing the works that Baermann had previously supplied to them well into the 1870s, his later compositions were published by André, who also published his editions of Mozart’s Concerto k. 622 and Quintet k. 581. Baermann’s relationship with André appears to have been a more positive one, as he continued publishing with them until the mid-1870s. 

  At some point in the 1870s, Baermann began working with a third publisher, Robert Lineau. Lineau had taken over Schlesinger, the house that had published the works of Weber, and it is probably this existing connection that led to Baermann’s own editions of Weber’s clarinet works were issued by the firm. No correspondence between Lineau and Baermann has so far been traced, so it is unknown who approached whom with the project. Baermann's correspondence with the Weber scholar Friedrich Wilhelm Jähns shows that Jähns often acted as a go-between and thus may have been involved in brokering the relationship. In an 1872 letter to Jähns, Baermann also refers to offering Lineau the scores clarinet pieces, his cello concerto and some of his songs, presumably in an effort to get them issued by the firm. In his letter to Jähns of 22 November 1877, Baermann reports that following the loss of his catalogue of works, he can no longer recall which songs were given to Lineau, and wants to avoid offering the same ones to another publisher by mistake, indicating that as late as 1877, he was still hoping to have more of them issued and presumably seeking a relationship with a new publishing house.

  A final reference in Baermann’s penultimate letter to Jähns of 16 June 1879 is somewhat of a conundrum: Baermann excuses his tardy reply, saying ‘your letter threw me into such a turmoil of musical work, as I had to prepare 9 pieces of music for the engraving’. It is unclear what the other scores might have been, and what role Jähns had in the process, though his involvement might indicate that Baermann was preparing publications for Lineau. However, the Hofmeister Monatsberichte does not list any new issues under Baermann’s name after June 1880.

  Sources and information

  The sources and information presented here draw on the database and holdings of the Schott-Archiv, the database of Répertoire Internationale des Sources Musicales (RISM), the Hofmeister Monatsberichte as represented by the Hofmeister XIX database, and the holdings of the Staatsbibliothek Berlin (D-B) and Bayerische Staatsbibliothek (D-Mbs), as well as other major libraries and collections. Digitised versions of manuscript and print sources are embedded or linked where available. The Schott-Archiv contains many of Baermann’s autograph manuscripts, which also acted as Stichvorlage or basis for engraving; Druckbücher, that is Schott’s own records of printing; and examples of the editions issued (n.b. many of those digitised appear to be later reprints with late-19th or early-20th century title pages). The archive of the André publishing firm is still held privately by the company and there are no public finding aids beyond the catalogue of publications, and it has not yet been possible to consult the holdings; however, letters from Baermann to André relating to the publication of the Vollständige Clarinett-Schule were previously transcribed in Erdt. The Schlesinger-Verlagsarchiv containing publishing catalogues and correspondence of Robert Lineau was acquired by the Staatsbibliothek Berlin in September 2024. It has not yet been ascertained whether it contains holdings relating to Baermann.

  For each work, the autograph sources are listed, alongside details of the publications instigated by Baermann. Where there is a discrepancy between the titles in the autograph and print sources, the published version is given. Publication dates are based on the Schott's Druckbücher for Schott's publications, plate numbers for André publications, and the Hofmeister Monatsberichte. Modern editions of Baermann’s works have not been included: for this information, please see the index of works prepared by Hill.

  The following works are referred to in letters and other sources but not otherwise traced:

  • A concertino for Oboe and further pieces for oboe (letters from Baermann to B. Schott's Sohne, of 3 June 1841 and 10 May 1844)
  • c. 125 further songs, in addition to the six currently identified
  • Three further concertos, listed in Baermann’s 1874 syllabus for his class at the Munich Hochschule, in addition to those accounted for in extant sources: a Concerto in F minor; a second Concerto in B flat, in addition to op. 48; and third Concerto in E flat, in addition to op. 26/62 and op. 60, which may however be a reference to the E flat major Concertstück op. 49.

  The following works are erroneously listed in other sources:

  • Bassoon Concerto op. 1: Listed on IMSLP, but clearly the work of Baermann’s uncle, the Prussian bassoonist Carl Baermann
  • Air Varié op. 12: Listed in Erdt, probably a mistaken reference to Heinrich Baermann’s Trois Airs Variés op. 12, published by Gambaro and Simrock
  • La Nuit Etoilée op. 13: Listed on IMSLP, an erroneous reference to op. 17
  • Quartet op. 18: Referenced in Weston, likely a mistaken reference to Heinrich Baermann’s Quartet op. 18
  • Concerto in E flat op. 23: listed in Erdt, likely a mistaken reference to Heinrich Baermann’s Concerto op. 23
  • Concerto in E flat op. 26 and op. 62: excerpts from these works are given sequentially in Clarinett-Schule vol. V. Given the similarity of the material they are evidently the same piece, with one of the opus numbers being a misprint of the other.
• 1 2026-02-12T10:04:02+00:00 Weber: Concertino in E flat major, op. 26 8 Sources and editions plain 2026-02-12T16:10:21+00:00 Composer
  Carl Maria von Weber
  
  Work title
  Clarinet Concerto No. 1 in F minor, op. 73
  
  Composition date
  1811
  
  Selected manuscript sources
  Autograph score from Weber's private library in D-B ms. autogr. C. M. v. Weber WFN 13 (not digitised).
  Autograph copy made for F. W. Jähns in 1865 in D-B Weberiana Cl. IV A, Bd. 21.
  
  The Baermann family autograph copy of this work is lost, but both Weber's autograph and Jähns's copy contain Jähns's annotations relating to details found in the Baermann copy. According to Gertsch, these include a repeat of bars 96–103 (variation II); più mosso in b. 155; the phrase 'risoluto im Druck' in bar 163; and a note of a total playing time of 10 minutes.
  
  Carl Baermann edition
  Robert Lineau/Schlesinger, pl. S. 1177 (1870). Available commercially as part of the Henle Urtext edition (see below), and as Lineau RL35870.
  As in Baermann's other editions, this clarinet part contains a large number of additional or altered dynamic, phrasing, accent and articulation markings, as well as additional expression and rubato indications. Notable is his addition of different metronome marks and expression indications for each variation, which accords with his practice in variations of his own composition and his edition of Weber's Variations op. 33.
  
  Metronome marks:
  Adagio ma non troppo: crotchet = 52
  b. 38: Thema - Andante con anima: crotchet = 84
  b. 54: Poco più vivo: crotchet = 112
  b. 73: Var. I: meno mosso: crotchet = 100
  b. 96: Var. II: 'Poco più vivo': crotchet= 112
  b. 125: 'Lento': crotchet = 63
  c. 147: Allegro: crotchet = 100
  
  Modern critical editions 
  Henle 718, edited by Norbert Gertsch. Henle (2001).  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.
  
  Notes
  See prefaces and critical commentaries to the urtexts by Gertsch (2001) and Heidlberger (2010) for further information.
• 1 2026-02-12T16:28:03+00:00 Militär-Conzert, op. 6 8 Work overview and sources plain 2026-02-13T11:05:41+00:00 Composer Baermann, Carl
  Work title Militär-Conzert, op. 6
  Scoring cl, pno; cl, vl (2), vla, vlc, cb, fl (2), ob (2), cl (2), fag (2), cor (2), tr (2), ba (2), timp
  Composition date c. 1837 based on reviews and concert listings
  Manuscript sources D-B Mus.ms. 1010 (orchestral score, MS copy c. 1861); further copy in B-Bc.
  Printed editions Schott 21680 in D-Mbs 4 Mus.pr. 44857 (piano reduction)
  Full score ed. M. van den Berg (2021) on IMSLP
  Notes no sources for this edition in Schott-Archiv
  
  
  
  
  
  
  
  
• 1 2026-02-12T09:44:30+00:00 Weber: Concerto No. 2 in E flat major, op. 74 7 Sources and editions plain 2026-02-12T16:12:02+00:00

  Composer
  Carl Maria von Weber
  
  Work title
  Concerto No. 2 in E flat  major, op. 74

  Composition date
  1811

  Selected manuscript sources
  Autograph score from Weber's private library in D-B ms. autogr. C. M. v. Weber WFN 12 (not digitised).
  
  Autograph copy in Weber's hand, previously owned and used by Heinrich and Carl Baermann, in US-NYpm 1811. W3733.C7445 (not digitised).
  The Morgan Library catalogue record states 'Heinrich Baermann has written the playing times at the end of each movement (10 minutes, 8 minutes, 8 1/2 minutes), but they have been erased from the second and third movements'. Gertsch additionally notes 'numerous additions in ink and pencil by various unidentified hands'.
  
  Autograph copy made for F. W. Jähns in 1865 in D-B Weberiana Cl. IV A, Bd. 21 also contains some notes relating to details in the Baermann family copy.

  Early prints
  First edition, supervised by Weber: Schlesinger pl. 1240 (1825). Also available commercially as part of the Henle Urtext edition (see below), and as Lineau RL36290.
  
  Carl Baermann edition
  Robert Lineau/Schlesinger, pl. S. 1240 (c. 1870). Digitisation available from Hathi Trust.
  
  Metronome marks:
  I Allegro: crotchet = 108
  II Romanze: quaver = 92
  III Polacca: crotchet = 100
  
  Modern critical editions
  Henle 732, edited by Norbert Gertsch. Henle (2003).  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 79 (piano reduction, first edition version only) and Eulenberg ETP 1903 (miniature score with parallel clarinet parts).
  
  Notes
  See prefaces and critical commentaries to the urtexts by Gertsch (2003) and Heidlberger (2010) for further information.

• 1 2025-06-13T14:03:10+01:00 Carl Baermann to B. Schott's Söhne, 3 June 1841 7 Letter details with digitisation plain 2026-03-02T21:34:16+00:00 48.13516553187103, 11.582059693584066 3 June 1841 B. Schott's Söhne Carl Baermann 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.
  
  
• 1 2025-06-13T14:03:11+01:00 Carl Baermann to B. Schott's Söhne, 10 May 1844 6 Letter details with digitisation plain 2026-03-02T21:31:00+00:00 48.13516553187103, 11.582059693584066 10 May 1844 B. Schott's Söhne Carl Baermann 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.
  
  
• 1 2025-06-13T14:03:11+01:00 Carl Baermann to B. Schott's Söhne, 22 May 1844 6 Letter details with digitisation plain 2026-03-02T21:29:49+00:00 48.13516553187103, 11.582059693584066 22 May 1844 B. Schott's Söhne Carl Baermann 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.
  
  
• 1 2026-02-12T15:34:27+00:00 Weber: Clarinet Quintet, op. 34 5 Sources and editions plain 2026-02-12T16:10:47+00:00 Composer
  Carl Maria von Weber
  
  Work title
  Clarinet Quintet, op. 34
  
  Composition date
  1811–15
  
  Selected manuscript sources
  Autograph fair copy (1815), made by Weber for his own archive (1815), available in D-B Mus.ms.autogr. Weber, C. M. v., WFN 14 (2)
  Copyist’s manuscript with corrections by Weber of movements I–III are available in US-Wc ML30.8b .W4 op. 34 ; movement IV available in D-B Weberiana Cl. I,14
  Autograph by Weber of arrangement for clarinet and piano is available in US_Wc ML30.8b .W4 op. 34
  
  Early Prints 
  First edition by Schlesinger pl. 183 (1816).
  
  Carl Baermann edition
  Robert Lineau/Schlesinger S. 5580, version for clarinet and strings and clarinet and piano. The clarinet part and piano score are available as part of the Edirom digital edition. The original version is reprinted as Lineau RL 36100 an the piano arrangement as RL 36110.
  
  As with all of Baermann's editions, there are extensive alterations and additions to dynamics, articulation, and expression markings. Allroggen and Holtstreater also suggest it can be presumed that Baermann was responsible for editing the string parts. The piano part in Baermann's edition deviates from Weber's arrangement.
  
  Metronome Marks:
  I: Allegro: crotchet = 108
  II: Fantasia Adagio ma non troppo: quaver = 42
  III: Menuetto Capriccio Presto:: dotted minim = 92
  IV: Rondo Allegro giojoso: crotchet = 112
  
  Modern critical editions
  Weber Sämtliche Werke VI Bd. 3., Schott WGA 1063 (2005), edited by Gerhard Allroggen and Knut Holtstraeter. Also available as Schott ED 9186 (parts) and Eulenberg ETP 384 (minature score).
  The Carl-Maria-von-Weber-Gesamtausgabe also produced an online digital edition on the platform Edirom which allows users to view commentary and source images in context via an annotated digital score.
  
  Brietkopf EB5830 (2000), edited by Guenter Hausswald, Wolfgang Meyer and Christoph Poppen.
  Breitkopf EB8753 (2000), piano reduction by Weber, edited by Ulrich Leisinger,
  
  Notes
  For a detailed discussion of the sources relating to this work, see the Weber Gesamtausgabe  and Edirom digital edition as well as the preface and commentary by Allroggen and Holtstreater.
• 1 2025-06-13T14:03:11+01:00 Carl Baermann to B. Schott's Söhne, 2 July 1844 5 plain 2026-03-02T21:28:02+00:00 48.13516553187103, 11.582059693584066 2 July 1844 B. Schott's Söhne Carl Baermann From Carl Baermann, München, 2 July 1844
  To B. Schott's Söhne
  
  Source D-B, 55 Nachl 100/B,7684. See Schott-Archiv.
  
  
• 1 2025-06-13T14:03:11+01:00 Carl Baermann to B. Schott's Söhne, 4 October 1844 4 Letter details with digitisation plain 2026-03-02T21:26:18+00:00 48.13516553187103, 11.582059693584066 4 October 1844 B. Schott's Söhne Carl Baermann 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.
  
  
• 1 2025-06-13T14:03:11+01:00 Carl Baermann to B. Schott's Söhne, 26 November 1844 4 Letter details with digitisation plain 2026-03-02T21:21:34+00:00 48.13516553187103, 11.582059693584066 26 November 1844 B. Schott's Söhne Carl Baermann From Carl Baermann, München, 26 November 1844
  To B. Schott's Söhne
  
  Source D-B, 55 Nachl 100/B,7686. See Schott-Archiv.
  
  
• 1 2026-02-15T10:49:36+00:00 Concertstück no. 1, op. 49 4 Work overview and sources plain 2026-02-15T11:31:38+00:00

  Composer Baermann, Carl
  Work title Concertstück [Konzertstück] in E flat no. 1, op. 49
  Scoring cl, orch; cl, pno
  Composition date 
  Manuscript sources D-Mbs Mus.ms. 9204
  Printed editions Johan André, Offenbach-am-Main, no. 12355 (piano reduction), in D-B DMS 30906
  
  

• 1 2025-06-13T14:03:12+01:00 Carl Baermann to B. Schott's Söhne, 1 June 1851 3 Letter details with digitisation plain 2026-03-02T21:18:11+00:00 48.13516553187103, 11.582059693584066 1 June 1851 B. Schott's Söhne Carl Baermann From Carl Baermann, München, 1 June 1851
  To B. Schott's Söhne​​​​​​​
  
  Source D-B, 55 Nachl 100/B,21031. See Schott-Archiv.
  
  
• 1 2025-06-13T14:03:25+01:00 Weber: Concerto No. 1 in F minor, op. 73 3 Sources and editions plain 2026-02-12T16:11:31+00:00 Composer
  Carl Maria von Weber
  
  Work title
  Clarinet Concerto No. 1 in F minor, op. 73
  
  Composition date
  1811
  
  Selected 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 critical 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.

  
  
  
  
  
  
  
  
  
   
• 1 2026-02-16T08:36:38+00:00 Gnomenklänge, op. 38 3 Work overview and sources plain 2026-02-16T09:15:02+00:00

  Composer Baermann, Carl
  Work title Gnomenklänge: Solo fantastique für die Clarinette mit Begleitung des Pianoforte, op. 38
  Scoring cl, pno
  Composition date pre-1844
  Manuscript sources 
  Printed editions Offenbach-am-Main: Johan André no. 9843, in D-B DMS 30901
  Notes André edition available on IMSLP

• 1 2026-02-16T08:41:58+00:00 Seliger Schmerz, op. 37 3 Work overview and sources plain 2026-02-16T09:15:14+00:00

  Composer Baermann, Carl
  Work title Seliger Schmerz: Impromptu für die Clarinette mit Begleitung des Pianoforte, op. 37
  Scoring cl, pno
  Composition date 
  Manuscript sources 
  Printed editions Offenbach-am-Main: Johan André no. 10909 in D-B DMS 30900
  
  

• 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 2025-06-13T14:03:12+01:00 Carl Baermann to B. Schott's Söhne, 24 August 1851 2 Letter details with digitisation plain 2026-03-02T21:17:42+00:00 48.13516553187103, 11.582059693584066 24 August 1851 B. Schott's Söhne Carl Baermann From Carl Baermann, München, 24 August 1851[?]
  To B. Schott's Söhne​​​​​​​
  
  Source D-B, 55 Nachl 100/B,21032. See Schott-Archiv.
  
  
• 1 2025-06-13T14:03:18+01:00 Weber: Grand duo concertant, op. 48 2 Sources and editions plain 2026-02-12T16:11:04+00:00

  Composer
  Carl Maria von Weber
  
  Work title
  Grand duo concertant, op. 48
  
  Composition date
  1815–16
  
  Selected 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.
  
  

• 1 2026-02-14T10:31:12+00:00 Epheublätter, op. 88 2 Work overview and sources plain 2026-02-14T10:37:09+00:00

  Composer Schubert, Franz
  Arranger Baermann, Carl
  Work title Epheublätter: 15 Lieder n Franz Schubert für Clarinette Pianoforte, op. 88
  Scoring cl, pno
  Composition date unknown
  Manuscript sources not extant
  Printed editions Johan André, Offenbach am Main, No. 12029–12033; held in D-B DMS 138668
  Modern critical edition Fountayne editions FE 133–137, edited by Jane Booth (2012).
  Notes "zum Vortrag im Salon und in kleineren Concerten". The text of each lied is given in the clarinet part. 

  Contents:

  Heft I:
  'Ständchen' from Schwanengesang, D. 957/4
  'Die junge Nonne', D. 828
  'Ungeduld' from Die Schöne Müllerin, D. 795/7

  Heft II:
  'Gute Nacht' from Winterreise, D. 911/1
  'Am Meer' from Schwanengesang, D. 957/12
  'Gretchen am Spinnrade', D. 118

  Heft III:
  'Des Mädchens Klage', D. 191 [2nd version]
  'Ständchen', D. 889
  'Aufenthalt' from Schwanengesang, D. 957/5

  Heft IV:
  'Lob der Thränen', D. 711
  'Hymne an die Jungfrau' ['Ellen’s Gesang III'], D. 839
  'Erstarrung' from Winterreise, D. 911/4 

  Heft V:
  'Trockne Blumen' from Die schöne Müllerin, D. 795/18
  'Der Neugierige' from Die schöne Müllerin, D. 795/6
  'Wohin' from Die schöne Müllerin, D. 795/2

• 1 2026-02-16T08:53:46+00:00 Introduction and Rondo, op. 36 2 Work overview and sources plain 2026-02-16T08:56:26+00:00

  Composer Baermann, Carl
  Work title Introduction and Rondo für die Clarinette in B mit großen Orchester, op. 36
  Scoring cl, orch
  Composition date 
  Manuscript sources D-Mbs Mus.ms. 9205
  Printed editions Offenbach-am-Main: Johan André no. 11421 (piano reduction), in D-B DMS 30899
  Notes Score and parts edited by Marnix van den Berg (2022) available on IMSLP.
  
  

• 1 2025-06-13T14:03:17+01:00 Carl Baermann to Friedrich Wilhelm von Jähns, 9 October 1879 2 Letter details with summary and transcription plain 2026-03-20T07:16:16+00:00 48.13516553187103, 11.582059693584066 9 October 1879 Friedrich Wilhelm von Jahns Carl Baermann 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.
   
• 1 2025-06-13T14:03:17+01:00 Carl Baermann to Friedrich Wilhelm von Jähns, 16 June 1879 2 Letter details with summary and transcription plain 2026-03-20T07:23:01+00:00 48.13516553187103, 11.582059693584066 16 June 1879 Friedrich Wilhelm von Jahns Carl Baermann 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 Jahn’s 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.
   
• 1 2025-06-13T14:03:16+01:00 Carl Baermann to Friedrich Wilhelm von Jähns, 22 November 1877 2 Letter details with summary and transcription plain 2026-03-20T07:27:49+00:00 48.13516553187103, 11.582059693584066 22 November 1877 Friedrich Wilhelm von Jahns Carl Baermann 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.
   
• 1 2026-02-16T08:28:21+00:00 Travestie (Erster Carnevals Scherz), op. 41 2 Work overview and sources plain 2026-02-16T09:15:45+00:00

  Composer Baermann, Carl
  Work title Travestie (Erster Carnevals Scherz): Introduction und Polonaise für die Clarinett in B und Pianoforte, op. 41
  Scoring cl, pno
  Composition date 
  Manuscript sources 
  Printed editions Offenbach-am-Main, Johan André no. 12825 in D-B DMS 30902
  
  
  

• 1 2025-06-13T14:03:20+01:00 Jahns, Friedrich Wilhelm von (1809-1888) 1 German scholar, singing teacher and composer plain 2025-06-13T14:03:20+01:00 German scholar specialising in Carl Maria von Weber, also singing teacher and composer.
  
  23 letters between Jahns and Baermann are listed individually on this site, corresponding to the holdings in D-B and the online Weber-Gesamtausgabe. However, the catalogue of the Baermann estate sale in 1922 indicates that there were originally 52 items dating from between 1864-1884. It is possible that the letters that do not relate to Weber have been separated at some point.
  
  Catalogue description: "Wundervolle sich über zwei Dezenn’en [sic] erstreckende Korrespondenz mit dem Klarinettisten Carl Bärmann, grössten Teils über die Kompositionen und das Leben Carl Maria von Webers, an dessen Biographie Jähns arbeitete." Henrici, Autographen-Sammlung, 1922, 41.
  
  Warrack, John. "Jähns, Friedrich Wilhelm". Grove Music Online. 2001.
• 1 2026-02-16T08:20:27+00:00 Concertstück in D minor, op. 44 1 Work overview and sources plain 2026-02-16T08:20:27+00:00

  Composer Baermann, Carl
  Work title Concertstück in D minor, op. 44
  Scoring cl, orch; cl, pno
  Composition date 
  Manuscript sources 
  Printed editions Offenbach am Main: Johan André no. 12772, in D-B DMS 30903
  Notes Score and parts edited by Marnix van den Berg (2022) on IMSLP