Luogo e data di registrazione		-
	Registrazione: live / studio		studio
	Recording Supervision		-
	Edizione LP		TELEFUNKEN - 6.42830 AP - (1 LP - durata 39' 17") - (p) 1979 - Analogico
	Originale LP		-
	Prima Edizione CD		-
	Note		-

The “Grand Duo concertant pour Pianoforte et Clarinette” in E-flat major, op 48 (J. 204) is the only solo clarinet work not composed exclusively for Heinrich Bärmann - at least it lacks a dedication to him. This is probably due to the fact that Weber began the Grand Duo initially as a concerto (J. Anh. II. 57) for Bärmann's rival, Johann Simon Hermstedt (1778-1846), when in 1815 the latter came to Prague. It is very probable that in Prague, out of consideration for Bärmann, Weber dropped the concerto project for Hermstedt, and used what had already been accomplished for our Grand Duo. At any rate, since the note on 4th February, 1815 "comp. Savoyan song and working on Clar. Concerto for Hermstedt,” there were no more follow-up entries in Weber’s diary. On the Munich occasion in summer 1815 Weber then at first worked on the rondo and adagio, the two movements being played there separately by Bärmann, in a public concert on 2nd August, together with Weber’s first piano concerto, op. 11 (J. 98). It was not until over a year later, between 5th and 8th November, 1816 that Weber than also “notated the first part of the Duo in E-flat," most likelywith an eyeto Schlesinger to whom he had already in july sold the workin advance. Weber took the theme of the “seven Variations for Clarinet and Pianoforte" in B-flat major, op. 33 (J. 128) from the opera Silvana, which he composed in Stuttgart 1810; it comes from the aria of Mechtilde "Warum muss' ich dich je erblicken?" Friend Bärmann was again the adressee of this fourth work, "for the clarinet.”The work appeared in print on 22nd April, 1814 "according to the delivery catalogue of the Schlesinger firm" (Jähns). A work which Weber allegedly wrote in Munich for Bärmann’s name day on 15th July, 1815, "Introduction, Theme and Variations in B-flat major for Clarinet, 2 Violins, Viola and Violoncello," has meanwhile turned out to be an absolute forgery. Concerning this, the diary says on the same day: "Music for Heinr. Bärmann notated for his name day." This Weber work must meanwhile be regarded as lost. In reality the variations originated from the ”Quintetto pour Clarinette Principale, Violon, deux Altos & Violoncelle, composé & dédié a son ami Adam Schott, Œuvre 32" by Joseph Küffner (1776-1856), which Schott had published in Mainz in March, 1815. According to this, Bärmann could quite well have known of the work on his name day, a circumstance which favoured a mystification à la Weber. Incidentally, the version ascribed to Weber is almost identical with that by Küffner: only the first viola was scored for violin.