Baermann, B�rmann and Barmann redirect here; for Heinrich Baermann's son and

grandson, see Carl Baermann.

Heinrich Baermann

Heinrich Joseph Baermann (also spelled B�rmann; 14 February 1784 � 11 June 1847)
was a German clarinet virtuoso of the Romantic era who is generally considered as
being not only an outstanding performer of his time, but highly influential in the
creation of several important composers' works for his instrument.

Baermann was born in Potsdam. In his youth, Baermann took lessons from Joseph Beer
(1744�1811) at the military school in Potsdam. After his prowess came to the
attention of the Berlin court in 1804, Prince Louis Ferdinand of Prussia had the
20-year-old musician pursue his training in Berlin under the guidance of Franz
Tausch (1762�1817). He played in the court orchestra of Munich from 1807 until his
retirement in 1834, when his son Carl Baermann succeeded him.

Parallel to Baermann's rise, the clarinet was undergoing a series of developments

in key construction and embouchure that allowed greater agility and flexibility in
playing. The growing custom was to play with the reed on the bottom lip, as is done
today, as opposed to the top lip as had been the previous prevailing style.
Baermann was an exponent of this new style of playing, and possessed a modern
instrument made by Griesling & Schlott which allowed him to play chromatic passages
with far greater ease than traditional 5-keyed instruments. He is said to have had
a great dynamic range.[1]

Numerous composers wrote for Baermann, who undoubtedly had a great influence on the
Romantic clarinet repertoire thereby. Along with lesser-known composers such as
Franz Danzi and Peter von Lindpaintner, Baermann received works from Felix
Mendelssohn, Carl Maria von Weber and Giacomo Meyerbeer. Mendelssohn most notably
wrote the two Konzertst�cke, Opp. 113, 114 (Concert Pieces) for Baermann and his
son Carl to play together; Meyerbeer wrote a quintet (1812) and concertos, and
Weber produced numerous works including two concertos (Op. 73 and Op. 74), a
quintet (Op. 34), the Concertino, Op. 26 and the Sylvana Variations, Op. 33, but
not the Grand Duo Concertant (Op. 48).[2]

As with many other virtuosi at the time, Baermann tried his hand fairly
successfully at composing for his instrument. Among other works, he wrote a Septet
in E-flat major, Op. 23, for clarinet, string quartet, and two ad libitum horns.
The Adagio movement from this septet has received several recordings as a stand-
alone piece, though it was for many years misattributed to Richard Wagner.[3]

Baermann died in Munich, aged 63.