 The Clarinet BBoard
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Author: diz
Date: 2002-01-31 05:03
Hmm, after doing a little bit of research on "Baerman" (sp?) - I glean that he actually played a German system clarinet. In that case, how well are his studies suited to the French system ones? thanks
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Author: werner
Date: 2002-01-31 05:59
Carl Baermann didn't just play it.
He worked together with Georg Ottensteiner (an instrument
maker who came back from studies in Paris) and with his
help he built and introduced a new clarinet: the Ottensteiner
or Baermann clarinet. For this clarinet he wrote a system
of studies which are originally not at all suited to the
French system clarinet. Of course
But these studies have been rearranged later for the successor
of his clarinet: The Oehler system clarinet.
And these studies have been rearranged by quite successful
French system players for the Boehm system clarinet.
I don't see any reason why these arrangements shouldn't meet
your needs.
regards
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Author: GBK
Date: 2002-01-31 06:30
diz...The Baermann III (Hite edition- which is arranged in a more logical way by key, but the really high notes- B6, C7 have been altered lower) has been on my music stand for as long as I can remember. Do some each day and use a metronome. The improvement in your playing and endurance should be significant.
If there was a list of "required" method books, this should be near (or at) the top...GBK
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Author: JMcAulay
Date: 2002-01-31 16:13
GBK reports:
>...The Baermann III... has been on my music stand for as long as I can remember. Do some >each day and use a metronome. The improvement in your playing and endurance should be >significant.
>If there was a list of "required" method books, this should be near (or at) the top.
GBK, I've seen many coments here about methods, but none ever as definitive as this. Thank you.
Move over, Hyacinthe, I'm gonna buy a copy of the Hite-Baermann.
Regards,
John
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Author: Hiroshi
Date: 2002-02-01 02:19
There was another Baerman, Heinrich Baerman. I know only his Adagio. What else did he write?
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Author: Hiroshi
Date: 2002-02-01 07:26
Thanks werner.
Herr Dieter Klöcker is famous in Japan as a great clarinet professor. A Japanese clarinetist now in an orchestra and who once studied clarinet in Germany told in a magazine the way the professor taught. After the two met for the first time, professor Klöcker told instantly that the reed he used is too thick and he does not control the reed enough. (Many Japanese are addicted by 'the thicker, the better reed syndrome'.) Another anecdote is his way of choosing reeds.(He uses Steauer Esser, I think.) After immersing a reed in water, he puts it on a flat surface(glass etc) and wait for ONE YEAR! If it is warped after one year, he throws it away. If not, he starts to adjust it. This is nearly a black magic.
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Author: werner
Date: 2002-02-01 20:16
Yes .. this fits. I believe both stories.
A journalist was meeting him in Freiburg, 1998, in a café.
She wanted to talk with him about his disputed discovery,
Mozarts second clarinet concert in Eb major.
He opened his bag and placed the original manuscript
next to her cup of coffee. She nervously flipped through the old
pages and realised that had written his own marks on the
pages with pencil.
Asked about the sense of this he said:
"Noten sind Arbeitsinstrumente. Wir sind hier nicht im Museum."
Translated something like:
"Scores are tools. We aren't in a museum here."
The interview was released in the journal Rondo 3/98.
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Author: Sandra F. H.
Date: 2002-02-04 23:27
So...is the 2nd concerto real?
I second the Baermann exercises. We all "hate" them...but we love the results. Sandra
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