Die Kleine Bettlerin Op.14 Clarinet-Piano - Carl Baermann

Gesangszene edited by Yvonne Morgan
Die Kleine Bettlerin Op.14 Clarinet-Piano
Die Kleine Bettlerin Op.14 Clarinet-Piano Die Kleine Bettlerin Op.14 Clarinet-Piano
Amadeus Verlag
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Carl Baermann 1810-1885
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Klarinet (Bb)-Piano [Bc]
Amadeus Verlag Klarinet Klassiek
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Die Kleine Bettlerin Op.14 Clarinet-Piano - Carl Baermann

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Carl Baermann, born on 24 October 1810 in Munich, came from a distinguished musical family. His father was the famous virtuoso Heinrich Joseph Baermann (1784-1847), friend of Carl Maria von Weber and first clarinettist of the Munich court orchestra from 1807 until his death. Carl, musically encouraged from an early age, was at 14 already playing beside his father in the court orchestra. Father and son triumphed on concert tours through Southern Germany, Holland and Belgium to Paris, where the Conservatoire even had medals struck in their honour. Their playing was admired for its lovely tone, which was often cited as an example to singers, the delicate Piano and the incomparable dexterity in figuration and passages. Carl Baermann also held an honourable place in the musical world as a virtuoso on the basset-horn. Incidentally, Mendelssohn wrote both his Konzertstücke for clarinet, basset-horn and piano op. 113 and 114 for father and son Baermann, with the dedication (in op. 113): 'The battle for Prague, great Duet for stewed dumpling and cream strudel, or clarinet and bassethr., composed and humbly dedicated to Bärmann senior and Bärmann junior by their entirely devoted Mendelssohn Bartholdy.' On his father's death, Carl succeeded him as first clarinettist of the orchestra. He died in Munich on 24 May 1885. Well trained in composition by his father, Carl Baermann wrote many pieces, mainly for his instrument, of which 88 opus numbered ones were published. Many of his works bear poetic titles. His clarinet method, built on the teaching methods of his father, was among the standard works until quite recently. The following 'Fantaisie Brillante' (at the top of the 1st page: 'Fantaisie concertante') is one of the charming recital pieces with a virtuosic slant, exploiting the clarinet's technique and expressive range. We have followed the first print.

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