The Controversy of Weber's Clarinet Concerto No. 1

History Behind the Piece

Carl Maria von Weber (1786-1826) wrote some of the most significant solo works in the clarinet repertoire. His friendship with the virtuoso clarinetist Heinrich Baermann (1784-1847) resulted in the creation of a series of magnificent pieces for clarinet. Weber’s magical gift for vocal melody, combined with his complete understanding of the capabilities of the clarinet, has kept clarinetists and audiences musically mesmerized for over two centuries.

The Concerto No. 1 in F minor, Op. 73 was composed in 1811 when Weber was 24 years old. The work was commissioned by King Maximilian I Joseph of Bavaria, following the rousing success of the premiere of Weber’s Concertino, Op. 26.

The Controversy

“Where is the controversy” you ask? Weber composed the concerto for his friend Heinrich Baermann and left the manuscript of the solo line somewhat sparse, allowing Baermann poetic license to phrase and embellish as he pleased, as was often the practice in concertos for solo instruments during this time period in music history.

Baermann freely added phrase markings, dynamics, grace notes, slight rhythmic variations, and even an extended cadenza in the first movement. His interpretation was reportedly very different from the more docile and simple solo line that appeared in the early published editions.

Carl Baermann Enters the Picture

In 1868-69, Heinrich’s son Carl (1810-1885), himself a clarinetist and pedagogue of great renown, published an edition of the concerto based on his father’s copy of the solo part. He included the many additions and embellishments his father had used in performance. It is generally recognized that these additions were added by Carl based upon his father’s solo part, his recollections of hearing his father in performance, and his remembrances of Weber’s preferences. Carl’s relatively young age (15) when Weber died in 1826, and the four decades that had passed before the creation of his edition, has added to the controversy of which edition is truly the most authentic.

Where it Stands Today

Today, there are many varying editions of the solo part available. Some editions adhere strictly to Weber’s original sparse solo line; others match Carl’s 1868-69 edition, while others are a hybrid of the two.

There is no verifiable “correct” way to play this masterpiece. It is up to the individual performer to decide which version they prefer. The purpose of this article is to explain the reason for the differing editions, and relate the controversy that lives on regarding which one is the truly authentic version. I leave this decision up to you!

To help in your own musical process...

I suggest studying the edition by G. Henle. This edition comes with two separate solo parts, the original version as well as the 1868-69 Carl Baermann version. The piano reduction has both editions of the solo line printed, one above the other, so you may easily compare the differences in the two solo lines. This edition also includes a scholarly preface with excellent historical perspective by the editor, Norbert Gertsch.

In any form, Weber’s Concerto No. 1 is deserving of its high standing in the hierarchy of the greatest works ever composed for the clarinet.

About Mitchell Estrin

Mitchell Estrin is Professor of Music Emeritus at the University of Florida where he was founder and music director of the University of Florida Clarinet Ensemble and a University of Florida Research Foundation Professor. He served as the Artistic Director of the Vandoren Clarinet Ensemble Festival and was founder of the Buffet Crampon USA Summer Clarinet Academy. Prof. Estrin was the 20th President of the International Clarinet Association (ICA). He is the author of the biography Stanley Drucker, Clarinet Master published by Carl Fischer and Writing the Vandoren WAVE published by CAMco. His critical edition of the Weber Concertino for Clarinet, Op. 26 is published by Jeanné.

Prof. Estrin is a 2023 recipient of Honorary Membership in the International Clarinet Association. This accolade, marking the highest honor in the clarinet world, is said to acknowledge individuals with a distinguished background in the areas of professional service, teaching, performance, and lifetime achievements.

Mitchell Estrin studied clarinet with Stanley Drucker at The Juilliard School where he received his bachelor’s and master’s degrees. His other influential teachers include Jerome Stowell, Walter Wollwage, Leon Russianoff, Larry Combs, Robert Bloom, and John Moses.

Prior to his academic appointments, he had a 25-year association with the New York Philharmonic. He performed in hundreds of concerts and on 19 international tours with the Philharmonic as principal, second, and E-flat clarinetist under music directors Alan Gilbert, Lorin Maazel, Kurt Masur, Zubin Mehta, Pierre Boulez, Leonard Bernstein, and many distinguished guest conductors including Erich Leinsdorf, Sir Georg Solti, Claudio Abbado, Klaus Tennstedt, Andre Previn, Sir Colin Davis, and Leonard Slatkin. He performed on dozens of recordings with the Philharmonic and on numerous occasions performed with the orchestra on the PBS award winning series, Live From Lincoln Center.

As an international concert artist, Mitchell Estrin has performed in over 40 countries on 5 continents. He performed and recorded the world premiere of The Shadows of October for clarinet and orchestra by Michael Whalen with the Janacek Philharmonic.
“This beautiful and lushly scored tonal piece…. is performed by clarinetist Mitchell Estrin…. He plays beautifully with a lovely colored tone.”
The Clarinet

As a chamber musician, he has performed with such notable ensembles as The Chamber Music Society of Lincoln Center, New Arts Trio, American Chamber Winds, at the Newport Music Festival, and was a founding member of the Amadeus Ensemble.

Prof. Estrin has an extensive discography of solo and chamber music and recorded hundreds of television commercials and Hollywood motion-picture soundtracks. He has performed and recorded with many leading popular artists including Emerson, Lake and Palmer, Peter, Paul and Mary, Ray Charles, The Fugees, Wynton Marsalis, Benny Golson, Smashing Pumpkins, and Natalie Merchant. His motion picture soundtrack credits include recordings for Columbia, Walt Disney, Paramount, MGM, 20th Century Fox, United Artists, and Warner Brothers on feature films including Aladdin, Beauty and the Beast, The Alamo, Intolerable Cruelty, The Score, You’ve Got Mail, Primary Colors, Fargo, Batman Forever, Interview with the Vampire, Home Alone 2, Pocahontas, Doc Hollywood, Regarding Henry, The Untouchables, Reds, and Dressed to Kill. His television credits include recordings for ABC, NBC, CBS, CNN, HBO, TBS, and ESPN. Prof. Estrin was principal clarinetist for the NBC 75th Anniversary Special; broadcast from the famed NBC Studio 8H in New York City. He has appeared on The Late Show with David Letterman, The Phil Donahue Show, the television series Nurse, and in Kramer vs. Kramer, the 1980 Academy Award Winner for Best Picture. His clarinet playing has also been heard on hundreds of television and radio commercials. The National Academy of Recording Arts and Sciences recognized him as a Most Valuable Player nominee for his outstanding performances in the recording studio.

Prof. Estrin has presented recitals, masterclasses, workshops, and seminars at many prestigious educational conferences and institutions. This list includes the Eastman School of Music, Peabody Conservatory, Arizona State University, Florida State University, University of Maryland, University of Alabama, University of Arizona, University of Illinois, University of Texas, Texas State University, Texas A&M University, Midwest Clinic, New York State School Music Association, Connecticut School Music Association, and Florida Music Educators Association. In 2019, he was a guest clinician in Australia at the University of Melbourne. He has performed in recital with clarinetists Stanley Drucker, Karl Leister, and Mark Nuccio.

Widely acclaimed as a conductor and proponent of the clarinet choir, Prof. Estrin has served as director of the International Clarinet Association ClarinetFest® College, Festival, and Professors Clarinet Choirs, Texas State Clarinet Fiesta Clarinet Choir, Oklahoma Clarinet Symposium Clarinet Choir, Texas Clarinet Colloquium Clarinet Choir, and United States Navy Clarinet Choir. He held a Guinness World Record for conducting the world’s largest clarinet choir (367 members) in 2019. He has conducted the University of Florida Clarinet Ensemble throughout the United States and Europe, including three feature recitals at the International Clarinet Association ClarinetFest®. The ensemble has produced four critically acclaimed CD’s for Mark Masters, Christmas Clarinets (2016), Clarinet Choir Classics (2012), Clarinet Thunder (2009), and Wind in the Reeds (2006). Each of these recordings was selected for the Grammy Nomination eligibility list. Prof. Estrin has authored multiple articles on the history, development, repertoire, and logistics of the clarinet choir.

As a music producer and annotator, he has worked on projects with such renowned artists as trombonist Joseph Alessi, jazz pianist Lynne Arriale, and saxophonist Mike Smith. He has produced five clarinet choir CDs for Mark Recording.

Prof. Estrin’s students have performed with such prestigious ensembles as the Chicago Symphony, Cleveland Orchestra, Cincinnati Symphony, Baltimore Symphony, Pittsburgh Symphony, Detroit Symphony, Louisville Orchestra, New York Pops, United States Army Band “Pershing’s Own”, United States Army Field Band, and West Point Band. His students hold educational positions at several major universities including Indiana University, University of Arizona, University of Florida, and University of South Alabama.

Mitchell Estrin is a Buffet Crampon Legacy Artist and performs exclusively on the Buffet R13 clarinet. As a Vandoren Performing Artist, he endorses and performs exclusively on Vandoren reeds (V.12) and mouthpieces (BD2). Prof. Estrin’s educational articles are published regularly in the Vandoren WAVE and his biography is listed in Who’s Who in Classical Music, Who’s Who in American Music, and Who’s Who in International Music.