The very beginning of Carl Bärmann’s Duo Concertant audibly resembles the beginnings of both Konzertstücke. All three pieces begin with bold dotted rhythms (see Examples 8, 9, and 10). Example 8. Clarinet entrance of C. Bärmann’s Duo Concertant, mm. 8–9
Example 9. Beginning of Mendelssohn’s Konzertstück no. 1, m. 1
Example 10. Beginning of Mendelssohn’s Konzertstück no. 2, mm. 1–2
Carl also utilized sixteenth note lines in both clarinet parts that ascend and descend in opposite directions, much like Mendelssohn did (see Examples 11 and 12). Example 11. From C. Bärmann’s Duo Concertant, Var. IV, mm. 4–5
Example 12. From Mendelssohn’s Konzertstück no. 1, Presto, mm. 121–123
Carl Bärmann’s Duo Concertant also includes a section resembling Mendelssohn’s “grumbling stomach” movement in the second Konzertstück. The first clarinet has a melodic line consisting of some tension and release, which is illustrated by accents on the dissonant ‘D’ flat, which is not part of the main key of Eb major (or F major as written for Bb clarinet) followed by a diatonic ‘D’ natural. This resembles the passage in the second Konzertstück that Mendelssohn described as his “yearning” (See Example 6). The second clarinet plays a repeated sixteenth note figure, which of course represents Mendelssohn’s “grumbling” stomach (see Example 13). Example 13. From C. Bärmann’s Duo Concertant, Rondo, mm.140–142
11
Felix Mendelssohn, Leipzig, to Carl Bärmann, 6 March 1843, in Letters of Distinguished Musicians, 447.
Volume 3
33