Complete Celebrated Method for Clarinet by Carl Baermann (often seen as Karl Bärmann) was first published in 1864, as 5 divisions in 2 parts:
Part 1 (Opus 63)
Division 1 - Historical and Theoretical
Division 2 - Preparatory Studies (with Piano Accompaniment)
Division 3 - Daily Studies
Part 2 (Opus 64)
Division 4 - Short Pieces
Division 5 - Solos
CARL BAERMANN CLARINET SOLOS are from Part 1 (Opus 63), Division 2 - the 24 (of 52) Preparatory Studies which have piano accompaniment (the original study numbers have been retained). There is no accompaniment prior to Study No. 14 and several later studies do not have accompaniment for obvious reasons (for example, No. 16 is the G Major Scale and No. 17 consists of 71 one measure finger exercises, each to be repeated 20 times).
Rather than being merely “Studies”, the Baermann Studies with Piano Accompaniment are really “Solos” in their own right. They have been composed in a wide variety of styles and formats, and include: a Romance; a gloomy Elegy (working on Syncopation); three sets of Theme and Variations, including a Variations Sentimentales; a Gypsy Air (with 2 Trios); a Polacca; a Ländler (which is actually 4 Ländlers); a Tarantella; and a Rondo (with a dazzling finish).
The original published piano accompaniment for Division 2 was extremely difficult to use for a variety of reasons: it did not show the clarinet part; there were no measure numbers and very few rehearsal marks; there were few dynamics markings and very often those marked did not match the clarinet part; several times there were different tempo markings; and, inevitably, there were wrong notes. The piano accompaniment available for this edition has eliminated and/or corrected those problems and is a “standard” 3 line (Solo & Piano) part.
Over the years there have been many editions of this work, edited by a variety of clarinetists. The version edited by Gustave Langenus (1883-1957), published 1917, described as “Revised for the ALBERT and BOEHM SYSTEM”, was further revised by Harry Bettoney (1867-1953), published in 1938, and included fingering suggestions above the notes for the Baermann, Albert and Boehm Clarinet Fingering Systems, in addition to, breath marks and other musical indications - creating a very crowded, confusing and difficult to read clarinet part. The present edition has followed the “standard” markings (breath marks, articulations, slurs, dynamics, etc.) as much as possible but has tried to eliminate many of the ambiguities, inconsistencies and contradictions that were present in previous versions (e.g., the same passage marked differently in the recapitulation; slurs over the same pitch; too many or not enough breath marks; etc.).
Carl Baermann was born in Munich, Germany on October 24, 1810 and died on May 23, 1885, in Munich. His father was Heinrich Baermann (1784-1847), the most famous clarinetist of the first half of the 19th century - for whom Carl Maria von Weber (1786-1826) composed: Concertino (Op. 26), Concerto No. 1 in F Minor (Op. 73), Concerto No. 2 in Eb Major (Op. 74), Variations (for Clarinet & Piano, Op. 33) and Clarinet Quintet (for Clarinet & Strings, Op. 34). Carl also played the basset-horn, a lower pitched type of clarinet in F, with range extended down to low C. Felix Mendelssohn’s (1809-1847) 2 Concert Pieces, Op. 113 & 114, were written for Heinrich (on clarinet), Carl (on basset-horn) and Mendelssohn himself on piano.
Although Carl Baermann was an excellent performer and toured with Heinrich for several years, he was best known as a composer (over 88 works) and teacher. Upon Heinrich’s retirement in 1834, Carl succeeded him as principal clarinet with the Court Orchestra in Munich. Also in this orchestra was flautist Theobald Boehm (1794-1881), the inventor of the modern flute (1847). Probably because of this close association with Boehm, Carl, along with instrument maker Georg Ottensteiner (1815-1879), invented an 18 keyed clarinet in 1860. The modern “Boehm” system clarinet had been invented in Paris in 1843 by clarinetist Hyacinthe Klosé (1808-1880) and instrument maker Louis-Auguste Buffet (1789-1864) - Theobald Boehm had nothing to do with the “Boehm” system clarinet. Baermann’s Complete Celebrated Method was, among other things, designed to display the advantages of his clarinet over other fingering systems. Carl’s clarinet was superior to many of the earlier fingering systems and was championed by many clarinetists including Richard Mühlfeld (1856-1907) - the clarinetist for whom Johannes Brahms (1833-1897) composed his Clarinet Trio, Op. 114 (for clarinet, cello & piano), Clarinet Quintet, Op. 115 (for clarinet & strings) and 2 Clarinet Sonatas, Op. 120 (for clarinet & piano). The Boehm system, however, eventually became the standard and Carl’s clarinet fingering system disappeared. His Celebrated Method (and its Piano accompaniment) did survive and is still widely used today, representing an interesting example of a clarinet playing tradition, passed from father to son, starting in the Classical Period (1750-1825), with Heinrich and continuing through the Romantic Period (1825-1900).
CARL BAERMANN CLARINET SOLOS from Complete Celebrated Method for Clarinet, Opus 63 is published in three volumes:
VOLUME 1 - Studies 14, 15, 18, 19, 21, 22, 24 25, 27 & 28
VOLUME 2 - Studies 31, 32, 34, 35, 37 & 38
VOLUME 3 - Studies 40, 41, 43, 44, 46, 47, 49 & 50
Each volume comes with an Audio CD containing both the Clarinet (full left) and Piano (full right), in addition to, SmartMusic smp files (of clarinet and piano).
A separate Piano Accompaniment part is also available for each volume.
Several studies have also been arranged as Solos or Duets with full Orchestra Accompaniment:
Studies No. 25 & 32 (VARIATIONS) for Clarinet and Orchestra
Study No. 50 (RONDO) for Clarinet Solo or Duet with Orchestra, or Clarinet Duet (unaccompanied)
Carl Baermann Clarinet Solos Volume 1 (24 pages & CD) - $19.95
CD contains 10 Audio tracks in addition to 10 SmartMusic smp Files
Study No. 14 - (ROMANCE) A Minor, Andante con moto (3/8, eighth = 96)
Study No. 15 - A Minor, Andante con moto (4/4, quarter = 72)
Study No. 18 - G Major, Molto moderato (4/4, quarter = 68)
Study No. 19 - G Major, Allegro (4/4, quarter = 96)
Study No. 21 - (ELEGY) E Minor, Largo (4/4, quarter = 48)
Study No. 22 - E Minor, Allegro con moto (4/4, quarter = 92), Allegro molto vivace assai Presto (6/8, dotted quarter = 92)
Study No. 24 - F Major, Adagio (12/8, dotted quarter = 60)
Study No. 25 - (VARIATIONS) F Major, Andante maestoso (4/4, quarter = 60); Andante (2/4, quarter = 68)
Study No. 27 - D Minor, Allegro molto moderato (4/4, quarter = 60)
Study No. 28 - (GYPSY AIR) D Minor/Major, Allegretto molto moderato (2/4, quarter = 68)
Carl Baermann Clarinet Solos Volume 2 (28 pages & CD - $19.95)
CD contains 6 Audio tracks in addition to 6 SmartMusic smp Files
Study No. 31 - Bb Major/G Minor, Andante molto cantabile (4/4, quarter = 70)
Study No. 32 - (VARIATIONS) Bb Major, Andante con moto quasi Allegro Moderato (4/4, quarter = 76); Allegro molto moderato (3/4, quarter = 80)
Study No. 34 - G Minor, Adagio (4/4, eighth = 72); Agitato quasi “Presto alla Breve” (4/4, half = 72)
Study No. 35 - (POLACCA) G Minor/Major, Allegro moderato alla Polacca (3/4, quarter = 92)
Study No. 37 - D Major/B Minor, Adagio (4/4, quarter = 54); Con moto (4/4, quarter = 72)
Study No. 38 - (LÄNDLER) D, A & Bb major, Tempo di Valse ma non troppo (3/4, quarter = 138)
Carl Baermann Clarinet Solos Volume 3 (24 pages & CD - $19.95)
CD contains 8 Audio tracks in addition to 8 SmartMusic smp Files
Study No. 40 - B Minor/Major, Andante (4/4, quarter = 72); L’istesso tempo (12/8, dotted quarter = 72)
Study No. 41 - (TARANTELLA) B Minor, G Major, Allegro vivace, quasi Presto (2/8, quarter = 144)
Study No. 43 - Eb Major, Adagio (4/4, quarter = 60); G Major, Allegretto con moto (6/8, dotted quarter = 68)
Study No. 44 - (VARIATIONS SENTIMENTALES) Eb Major, Andante con moto (4/4, quarter = 84); Andante (4/4, quarter = 72)
Study No. 46 - A Major, Andante (6/8, eighth = 102)
Study No. 47 - A & F Major, Allegretto grazioso (2/4, quarter = 90); Moderato (6/8, dotted quarter = 60)
Study No. 49 - C Minor, Adagio (4/4, quarter = 48)
Study No. 50 - (RONDO) C Minor/Major, Allegro vivace (2/4, quarter = 96)