 The Clarinet BBoard
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Author: OlyDLG
Date: 2019-06-27 09:37
I have the 2018 edition, published by Dover Publications. My question is: why do so many of the etudes have extended rests in them? Are they excerpts from other works? If so, how can I find out which works? Or are they meant to be accompanied, e.g., by piano, and the rests are where the accompanist has solos? (Note: the referenced edition does not include any accompaniment parts; if that's the reason for the long rests, it'd be nice to get the scores for those parts: any idea where/how I can get those?) Thanks!
DLG
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Author: kdk ★2017
Date: 2019-06-27 17:33
I haven't seen the Dover edition, but in the old Carl Fischer editions that I have, the source of each etude is identified. They're all apparently concertos and other pieces for clarinet by Baermann. Long ago I tried to find some of them in their complete form with the accompaniments and found that at the time they were mostly no longer available, although one German publisher, as I remember, responded to my post here saying that he had some of them.
Karl
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Author: OlyDLG
Date: 2019-06-28 01:12
Thanks, both!
Since I clearly have the attention of some knowledgeable people here :-): in Etude #40 "Andante", the beginning of the 12/8 section is marked "l'istesso tempo," which I looked up to mean "same tempo"; however, this is preceded, albeit in the previous section, by a rallentando, followed by a ritard, with no subsequent "a tempo" before the l'istesso. So, my question is: l'istesso as the original Andante, or as whatever the performer finished the first section at? (Or is it meant to be left to performer's discretion?) Thanks!
DLG
Addendum: Actually, I see further on that Baermann implies the answer to my Q: when he returns to common time, he declares "Tempo I," kind of implying that the previous section *wasn't* supposed to be at Tempo 1 (there are no tempo changes in the 12/8 section), so I'm going to assume that l'istesso refers to whatever tempo the performer ended section 1 with.
Post Edited (2019-06-28 02:21)
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Author: OlyDLG
Date: 2019-06-28 01:32
Hi, Bennett! Now I see why the Dover edition doesn't include the piano accompaniments: they're not in the public domain in the U.S. yet! But at least I know where to get them and who to ask permission if I want to publish MuseScore performances. Thanks!
DLG
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Author: Bennett ★2017
Date: 2019-06-28 02:23
As best I can tell from imslp's notes, the 1860 or so edition, which has the piano parts, is out of copyright.
Later reprints/editions might also have or once had piano parts that are still in copyright, even if out of print.
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Author: kdk ★2017
Date: 2019-06-28 03:31
Bennett wrote:
> Later reprints/editions might also have or once had piano parts
> that are still in copyright, even if out of print.
I am not a lawyer, and in particualr not a copyright lawyer, but AFAIK, reprints and editions that don't substantially change the musical content do not have copyright protection separate from the original publication. If someone composed new accompaniments or new reductions of orchestral accompaniments since 1927 (or whatever the date now is), those are protected. If all Harry Bettoney did in 1938 (which is the edition of which mine is a later reprint) was correct wrong notes (there are still tons of them) and add breath marks and articulations, again as far as I understand the U.S. copyright law, that can't be protected whether there's a copyright notice on the publication page or not, even if he had included accompaniments from earlier editions. It's still Baermann's music and Bettoney's corrections and additions to the extent he made them were meant to clarify the original 1860s edition.
So, I'm not sure why IMSLP marks the 1938 edition as non-PD U.S. except out of an abundance of caution solely because of the publication date. I think at one point they were nearly shut down over copyright violations.
I'd still like one day to find copies of the original works the etudes were excerpted from. It would be fun to see how the excerpts he chose for the method book actually fit together and what was left out.
Karl
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Author: tacet
Date: 2019-06-29 13:03
The studies in Baermann op.63 and op.64 part 1 (what is "Divisions 1-4" in the imslp upload) are all original material written specifically for the clarinet method. Unusually, they are in the form of "Salonstücke" to please the pupils, hence the (also original) piano accompaniments.
Remarkably, the original publisher ("Verlagshaus Andre" in Offenbach, Germany) is still in business and prints the Baermann method: you can actually purchase it from their website:
https://musik-andre.notenlink-shop.de/index.php?query=Baermann+Andre
I own three of the volumes on offer there -- it seems that they still use the original rendering!
[Full Disclosure: I am not affiliated with this company, and do not know about their T&C for delivering to the U.S.. I am sharing this information for its possible historical and practical value only.]
What was discussed above about "original works" refers to "Division 5". In this, the Table of Contents identifies the sources, which are all showpieces Baermann wrote for himself. I am not sure which these are currently in print. IIRC, Amadeus Verlag has some, also a few of them (op. 6, 44, 49) are now on IMSLP.
Hope this helps
Best regards
(tacet)
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Author: seabreeze
Date: 2019-06-30 01:54
Tacet,
Thanks for this great resource. With the passage of time, the collected editions of the piano parts to the Baermann books have become very hard to locate. I still have one of the Cundy-Bettony books but had no idea these copies of the German original existed.
Post Edited (2019-06-30 01:56)
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Author: OlyDLG
Date: 2019-06-30 02:32
I'm glad my question led to some generally helpful results! :-)
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The Clarinet Pages
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