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    Heinrich (Joseph) Baermann

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    Celia Rodriguez Merino
    The Baermann family was a German family of musicians active from the late 18th century to the early 20th century. Heinrich Baermann was a renowned clarinetist who toured extensively throughout Europe and developed a luxurious tone. His son Carl Baermann II was also a clarinetist and taught at the Königliche Musikschule in Munich. Carl Baermann III was a pianist who taught at the same school and later moved to the United States.

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    Heinrich (Joseph) Baermann

    Uploaded by

    Celia Rodriguez Merino
    90 views2 pages
    The Baermann family was a German family of musicians active from the late 18th century to the early 20th century. Heinrich Baermann was a renowned clarinetist who toured extensively throughout Europe and developed a luxurious tone. His son Carl Baermann II was also a clarinetist and taught at the Königliche Musikschule in Munich. Carl Baermann III was a pianist who taught at the same school and later moved to the United States.

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    The Baermann family was a German family of musicians active from the late 18th century to the early 20th century. Heinrich Baermann was a renowned clarinetist who toured extensively throughout Europe and developed a luxurious tone. His son Carl Baermann II was also a clarinetist and taught at the Königliche Musikschule in Munich. Carl Baermann III was a pianist who taught at the same school and later moved to the United States.

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    90 views2 pages

    Heinrich (Joseph) Baermann

    Uploaded by

    Celia Rodriguez Merino
    The Baermann family was a German family of musicians active from the late 18th century to the early 20th century. Heinrich Baermann was a renowned clarinetist who toured extensively throughout Europe and developed a luxurious tone. His son Carl Baermann II was also a clarinetist and taught at the Königliche Musikschule in Munich. Carl Baermann III was a pianist who taught at the same school and later moved to the United States.

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    of 2

    Baermann family

    Pamela Weston

    https://doi.org/10.1093/gmo/9781561592630.article.01754
    Published in print: 20 January 2001
    Published online: 2001
    updated and revised, 11 February 2013

    German family of musicians.

    (1) Heinrich (Joseph) Baermann

    (b Potsdam, Feb 14, 1784; d Munich, June 11, 1847). Clarinettist. He and his brother Carl Baerman (i)
    (1782–1842), a bassoonist in the Berlin court orchestra, were sent by their soldier father to the School
    of Military Music in Potsdam. At 14, having first studied the oboe, Heinrich became a bandsman in the
    Prussian Life Guards and during this time studied the clarinet with Beer. In 1805, under the patronage
    of Prince Louis Ferdinand, he had lessons with Tausch. He fought at the battles of Saalfeld and Jena
    and was captured, but escaped and found his way to Munich. Here he obtained a court appointment,
    which he held until his retirement in 1834.

    Baermann toured extensively, first to Switzerland and France in 1808. In 1811, after successful
    performances at Munich of Weber’s newly composed Concertino and concertos, clarinettist and
    composer toured together through Austria and Germany. At Berlin Baermann’s artistry helped to
    convince the musical public of the composer’s worth. In Vienna and Prague in 1813, Italy in 1815–16
    and Berlin in 1818, Baermann gave concerts with the Munich prima donna, Helene Harlas (1785–
    1818); she had four children by him. Paris gave him a phenomenal reception in 1817 and 1838, as did
    Russia in 1822–3 and 1832. In 1819 Baermann was invited to England, where he played for the Prince
    Regent at Brighton and, during six months of concerts in London, performed his own compositions on
    two occasions for the Philharmonic Society.

    Heinrich Baermann was sometimes called the Rubini of the clarinet on account of his expressive
    playing and his luxurious, velvety tone, in contrast to the shriller style of some earlier players. Weber
    referred in his diary to the ‘welcome homogeneity of tone from top to bottom’, and gave great credit to
    Baermann for the success of his clarinet works. All of these except the Grand Duo were dedicated to
    Baermann, as were Mendelssohn’s concert pieces and Meyerbeer’s Quintet and (also for Helene
    Harlas) his cantata Gli amori. His liveliness of mind and his companionable nature made him widely
    popular, and he became a close friend of these composers, who made frequent reference to him in their
    correspondence. His own works include quartets, quintets and concertinos for clarinet and various
    instrumental combinations. His instrument was first a ten-keyed clarinet made by Griesling & Schlott;
    by 1819 he had one of twelve keys.

    (2) Carl Baermann (ii)

    (b Munich, Oct 24, 1810; d Munich, May 23, 1885). Clarinettist and basset-horn player, son of (1)
    Heinrich Baermann and Helene Harlas. He was taught the clarinet by his father and by the age of 14
    was occasionally playing in the court orchestra. In 1832 he was officially appointed second clarinettist

    Page 1 of 2
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    and in 1834 succeeded his father as principal. Carl accompanied his father on concert tours in 1827,
    1832 and 1838, attracting much attention playing the basset-horn. Conscious of his father’s superior
    talent as a soloist, he turned to teaching, making a great success of this as professor at the Königliche
    Musikschule in Munich. His Vollständige Clarinett-Schule (1864–75) remains one of the most used
    methods. His other compositions, comprising 88 opus numbers in all, were once popular with
    virtuosos. In 1860, in conjunction with Ottensteiner of Munich, he produced an 18-keyed Müller-type
    clarinet, which found favour with many players, including Mühlfeld. He was pensioned from the court
    orchestra in 1880 and retired from teaching in 1882.

    (3) Carl Baermann (iii)

    (b Munich, July 9, 1839; d Newton, nr Boston, MA, Jan 17, 1913). Pianist, son of (2) Carl Baermann (ii).
    He studied in Munich with Franz Lachner and Peter Cornelius and later became a pupil and close
    friend of Liszt. He taught for many years at the Königliche Musikschule in Munich, becoming a
    professor in 1876. In 1881 he moved to the USA, where he made a successful début as a pianist in
    Boston and also became highly esteemed as a teacher (Amy Beach and Frederick Converse were
    among his pupils). His compositions include a Festival March for orchestra and a number of piano
    compositions including a set of 12 Etüden op.4 (1877) and a Polonaise pathétique (1914).

    Bibliography
    NDB (H. Becker)

    A. Lewald: ‘Heinrich Baermann’, Der Freimüthige, 31 (1834), 649–63

    A. Lewald Panorama von München: (Stuttgart, 1840), 130–48

    M.M. von Weber: Carl Maria von Weber: ein Lebensbild (London, 1864–6, abridged 2/1912 by R.
    Pechel; Eng. trans., 1865/R)

    M. Zenger: Geschichte der Münchener Oper, ed. T. Kroyer (Munich, 1923)

    H. Becker, ed.: Giacomo Meyerbeer: Briefwechsel und Tagebücher (Berlin, 1960–85)

    J. Warrack: Carl Maria von Weber (London, 1968, 2/1976)

    P. Weston: Clarinet Virtuosi of the Past (London, 1971), 114–53

    P. Weston More Clarinet: Virtuosi of the Past (London, 1977), 35–8

    Page 2 of 2
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    individual user may print out a single article for personal use (for details see Privacy Policy).

    Subscriber: Conservatorio Superior de Musica "Andrés de Vandelvira"; date: 20 November 2019

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