What is a bassoon? Bassoon musical instrument. French and German traditions

Varieties of bassoon

At different times, several varieties of bassoon were created:

• quartbassoon- a large bassoon, with the same volume in writing, but sounding a perfect quart lower than written;
• bassoon (quintbassoon or small bassoon) - an instrument that sounded a fifth higher than the written notes;
• - the only type of bassoon that has survived to this day.

Bassoon playing technique

In general terms, the technique of playing the bassoon resembles that of oboe, however, the breath on the bassoon is spent faster due to its large size. The staccato bassoon is clear and sharp. Jumps of an octave or more are good. Changing registers is almost invisible.

The bassoon technique is most characterized by alternating melodic phrases of medium breathing with various shades of scale-like passages and arpeggios, mainly in a staccato presentation and using various leaps.

Video: Bassoon on video + sound

Thanks to these videos, you can get acquainted with the instrument, watch a real game on it, listen to its sound, and feel the specifics of the technique.

(Italian - fagotto, French - basson, German - Fagott, English - bassoon)

The immediate predecessor of the bassoon was the bass pipe - bombarda. This instrument was made of wood, had the shape of a straight wide pipe with a funnel-shaped bell and was equipped with 7 playing holes.

The sound was produced using a double reed. Bombarda had a diatonic scale of almost two octaves. It is most widespread in Germany.

In the second quarter of the 16th century. The bombard underwent a number of design changes, the main one of which was giving it the shape of the Latin letter U. It became more convenient for performers to handle the instrument. The scale length was also reduced, and the reed was removed from the cup-shaped mouthpiece-capsule. The timbre of the improved instrument acquired softness and tenderness, which led to its name - dolchian, doltsian, doltsyn (from the Italian dolce - gentle, sweet). In fact, this instrument had all the features of a bassoon.

In the XVI-XVIII centuries. the bassoon family consisted of the contrabassoon, the double bassoon, the choir bassoon (the instrument closest to the modern bassoon), the treble bassoon, and the octave bassoon. Of the entire family, in addition to the main instrument, only the contrabassoon became widespread.

By the end of the 17th century. the bassoon consisted of four knees and already had three valves (B-flat, D and F). Its range covered two and a half octaves (from B-flat counteroctave to F-sharp first). Subsequently, a fourth valve, A-flat, appeared, and at the end of the 18th century, an E-flat valve. At the same time, octave valves appeared on the small knee, significantly expanding the upper register of the instrument (in the presence of four octave valves - up to F of the second octave).

At the beginning of the 19th century. The leading position in performing practice was occupied by the bassoons of the French system. The bassoon, designed by the famous Parisian master Savary Jr., had 11 valves. The instrument had a gentle but dry timbre with a distinctly nasal tint and had unstable intonation. The narrowed conical channel limited its dynamic range. In the middle of the 19th century. French bassoons, improved by famous designers A. Buffet and F. Triebert, became widespread. These instruments had 16 and 19 valves. In 1850, F. Triebert tried to apply the Boehm system to the bassoon, but due to the complexity of the design and poor timbre, the new instrument was not widely used. Other attempts to apply the Boehm system to the bassoon were also unsuccessful.

Since 1825, the bandmaster and chamber musician in Nassau, Karl Almenröder (1786-1843), was involved in improving the bassoon. He carefully adjusted the mechanism of the classic instrument from Beethoven's era, adding several playing holes and valves. As a result, a new model of the bassoon of the German system was created, then improved by the famous Haeckel company. It is an instrument with a wide conical channel and a perfect valve mechanism. This model is currently being reproduced by many European companies that manufacture bassoons. Based on Haeckel's designs, bassoons are also produced in our country by the Leningrad Wind Instruments Factory.

French bassoons are currently widespread in addition to France in Spain and partly in Italy. They are manufactured by the Parisian company Buffet-Crampon.

Modern bassoon consists of a trunk, a bell and an esa (a curved metal tube), its length is more than 2.5 m. The material for production is maple (previously also beech, boxwood, sycamore), less often plastic. The barrel of the instrument consists of two tubes folded together in the shape of the Latin letter U. Sound is produced using a double (two-lobe) reed mounted on the es. The valve located on the fuse makes it easier to extract sounds in the upper register. The instrument has 25-30 playing holes, most of which are equipped with valves, the rest can be closed with your fingers. By opening the playing holes in succession and using additional valves, on the bassoon it is possible to obtain a chromatic scale from B-flat counteroctave to F small octave. Sounds from F-sharp of the small octave to D of the first are extracted by octave blowing, and when extracting F-sharp, G and G-sharp of the small octave, you need to open half of the F playing hole. When playing A, B-flat, B minor and up to the first octave, it is necessary to open the octave valve, although professional performers quite often do without it. Sounds above D of the first octave are produced using complex fingerings. The bassoon is a non-transposing instrument. Notated in bass, tenor and rarely (highest notes) in treble clef. Range and characteristics of registers (see example 85).

Technically, the bassoon is somewhat inferior to the clarinet and oboe. This is especially evident when performing fast passages and trills in keys with a large number of key signs. In the lower register the instrument is technically less flexible. Staccato bassoon sounds sharp and clear. Octave jumps and even large intervals are possible. In the upper and lower registers, the staccato technique is inferior in speed to the middle register. Modern performers make extensive use of the double attack when performing rapidly alternating sounds. Although improvements to the instrument by the Soviet bassoonist-designer V. Bubnovich and the Romanian G. Cucurianu have greatly facilitated the performance of tremolos and trills, tremolo on the bassoon is still difficult and does not sound distinct enough, and trills are not possible on all sounds. Unperformable trills (see example 86).

The first to use the mute on the bassoon was the Soviet bassoonist Yu. F. Neklyudov. It is mainly used when extracting lowercase pp. The mute does not affect the highest sounds, and the lowest sound is not produced when muted.

Varieties of bassoon

Contrabassoon (Italian— contrafagotto, French— contrebasson, German— Contrafagott, English— contrafagotto, double-basson). Compared to the bassoon, this instrument is twice the size. In design and fingering it is basically similar to the bassoon, although it has some design differences (the absence of a bass valve). The contrabassoon is notated in the bass clef and sounds an octave lower. The most valuable is the lower register of the instrument (from B-flat contra octave to B-flat major), which has a thick, powerful sound. Higher sounds are not particularly interesting; on the bassoon they sound fuller. In terms of technical capabilities, this instrument is inferior to the bassoon.

Bassoon(Italian fagotto, lit. “knot, bundle, bundle”, German Fagott, French basson, English bassoon) is a reed woodwind musical instrument of bass, tenor and partially alto register. It looks like a bent long tube with a system of valves and a double (like an oboe) reed, which is put on a metal tube (“es”) in the shape of the letter S, connecting the reed to the main body of the instrument. It got its name because when disassembled it resembles a bundle of firewood.

Device and sound

The bassoon is a long, hollow-conical tube. For greater compactness, the air column inside the instrument is folded in half. The main material for making a bassoon is maple wood.
The body of the bassoon consists of four parts: the lower knee (“boot”, which has a U-shape), the small knee (“wing”), the large knee and the bell. From the small knee extends a thin long metal tube, bent in the shape of the letter S (hence its name - es), onto which a cane - the sound-producing element of the bassoon - is attached.
There are numerous holes on the body of the instrument (about 25–30), by opening and closing which the performer changes the pitch of the sound. Only 5-6 holes are controlled by fingers; for the rest, a complex valve mechanism is used.
It has the largest range of all woodwinds (more than 3 octaves). It must be said that in general, as a rule, low instruments have a large range due to the fact that their overtones are not so high, and therefore they are not so difficult to extract. The bassoonists sit in the second row of the wind group, next to the clarinets; usually the orchestra uses 2 bassoons.
For large compositions, the contrabassoon is also common - the only widespread type of bassoon. This is the lowest instrument of the orchestra (not counting the exotic double bass clarinets and saxophones or the organ - a fickle member of the orchestra). He can play notes a fourth below the double bass and a second below the harp. Only a concert grand piano can be “proud” - its lowest note, A subcontractave, is a record. True, as in the 100-meter race - for a fraction of a second, but in musical terms - for a half-tone.
In terms of sound capabilities, the bassoon is in last place among wind instruments - fluency is average, dynamic capabilities are average, the range of images used is also small. Basically, these are either angry or persistent phrases with a typically slow attack of sound (the most typical example is the image of the grandfather from Prokofiev’s “Peter and the Wolf”), or mournful intonations, most often in a high register (as for example in the side part of the reprise of the 1st movement 7 Shostakovich's symphony - it is better known as "Leningrad"). A common thing for a bassoon group is doubling string basses (i.e. cellos and double basses), this gives the melodic line greater density and coherence.
Of the combinations of instruments, the most characteristic are - bassoon + clarinet (the beginning of Tchaikovsky's "Romeo and Juliet" - a chorale of 4 instruments), bassoon + horn (this was especially popular in those days when there were only 2 horns in the orchestra - classical harmony requires four voices, and this combination is perceived as a completely homogeneous sound). Naturally, other combinations are not excluded - each “mix” is useful and can be used in a certain place.

Frequency range - from 58.27 Hz (B-flat counteroctave) to 698.46 Hz (F2, F of the second octave). Spectrum - up to 7 kHz. Formants - 440-500 Hz, Dynam. range - 33 dB. The sound is directed upward, backward, forward.
When played, the bassoon has an expressive timbre; in its full range it is rich in overtones. The middle and lower registers of the instrument are most often used. As for the top notes, they have a more compressed and nasal sound. Today, there are two models of wind instruments, the bassoon itself, and one of its varieties - the contrabassoon, which has an identical design, but sounds one octave lower.
An ordinary bassoon has a volume of three octaves and a little, starting with the “B-flat counter” and ending with the “D-second” octave, but still the musicians manage to extract the necessary notes, despite the fact that this is dangerous, especially during a concert.
The sound of the resulting octaves is dull and unpleasant. The sound timbre of a bassoon directly depends on the register of sound reproduction. With the advent of the bassoon wind instrument, classical music acquired expressiveness and became richer in overtones.

Story

In the 16th century, long before the invention of the bassoon, all bass voices of wind reed instruments were held by various types of low instruments. These instruments, in their overwhelming majority, belonged to the family of pipes, or better said, oboes, and were known in the musical-instrumental usage of that time under the name “bombard” or “pommer”. Some of these instruments - in this case we are talking about the low varieties of the family - were a wooden pipe up to ten feet long. They were very easy to use, but for the performer during the game they turned out to be prohibitively heavy and tiring. This peculiarity in the properties of low pipes, one of the varieties of which was almost already known under the name bassoon, stemmed from the fact that their “double mouthpiece,” reminiscent of the outline of the Latin letter S, was quite similar in its structure to the modern double-reed reed. However, during playing, it was not placed directly into the performer’s lips, as with today’s bassoons and oboes, but was placed in a special capsule or “tin”, into which the musician blew through a hole so that the mouthpiece tube itself shuddered. It is clear, of course, that under such circumstances the sound quality depended least of all on the musician and it was impossible to achieve subtle, expressive playing. Pipes of this kind clucked like a chicken and in the old days they were simply called gingrina, deriving the word from the Italian gingrire, which means “to cluck”, “to cluck”. The larger varieties hummed and buzzed and, in combination with other woodwind instruments, probably produced more than a strange impression. However, for all their relative merits and after three hundred years of existence, these types of low pipes disappeared without a trace and irrevocably. Thus ended the glorious activity of the closest ancestor of the modern bassoon.
And so, in 1539, one Farar canon, Abbot Afranio degli Albonesi (1480/1495-?), originally from Pavia, combined two such ancient instruments. He forced them to unite in one system of pipes, attached a blowing bellows to them and thus created the first bassoon, which, on his instructions, was built by a certain Giovani-Batista Bavilius from Farara (14??-15??). Afranio degli Albonesi named his instrument from the Latin word phagotus, which means “matchmaker” or “fagget.” He did this, obviously, because the pipes of the instrument he had newly created and connected in the manner just indicated resembled in their appearance a small bundle of firewood, as opposed to bombards, which were made up of one long piece of pipe. The tongue of the new bassoon did not come into contact with the performer’s lips, but was contained in a special “embouchure” in the form of a small funnel. Thanks to this device, the new bassoon soon discovered a number of significant difficulties when using the instrument in practice. For this reason, several decades later, at the very beginning of the 17th century, one instrumental maker, named Sigismund Scheltzer (166? - 17??), first of all freed the bassoon from the bellows pipes and thus created that “authentic” bassoon , which for a long time was known under the name of dolcine or dulcine-bassoon, so designated only due to its exceptionally gentle sonority. However, this name should not be understood in the literal sense of the word and one should not at all think that this “tenderness” in sound was real “tenderness” in the modern meaning of the word. This tenderness was a very relative concept, and if we remember that the sonority of the ancient bombard wheezed, growled and was extremely rude, then the new type of bassoon, freed from these significant shortcomings, really should have seemed to contemporaries something surprisingly tender and pleasant. The bassoon was “gentle” in comparison with the bombarda, but it became truly “soft” after it had experienced all the latest improvements in the design of its complex mechanism.
This newly improved bassoon had a complete family of instruments from double bass to soprano, and Michael Praetorius, one of the most prominent musical writers of the Middle Ages, in his description of this instrument gives five independent varieties of it. But the most curious thing remains that the bassoons of that time were quite similar in appearance to modern instruments, and differed from them only in the details of their structure. In France and Germany, improved bassoons were adopted in military music orchestras, and already in 1741 they were introduced into the orchestras of the French Guard and Lancer regiments of Marshal Moritz of Saxony (1696-1750). Bassoons came into use in Russian brass music during the reign of Peter the Great. But at that time, along with the new improved bassoon, these orchestras continued to use similar serlents and “Russian bassoons,” which differed from the ordinary bassoon in their metal mouthpiece.
By the end of the 18th century, the bassoon was in great use in all the cities of Germany where there were military garrisons. Their orchestras, especially at military parades, performed many pieces of music written for two oboes, two; clarinets, two horns and two bassoons. Around the same time, many instrumental makers were already building bassoons in different volumes and with different scale boundaries. All these numerous varieties of bassoon had a temporary distribution in Germany. They served there to accompany choirs in churches, where each of their voices was doubled by one of these instruments.
This is the history of the bassoon until the end of the 18th century. With the beginning of the new, 19th century, the further development of the bassoon began with lightning speed. One master invented something new, another immediately improved it, a third introduced something completely original, and a fourth again developed and supplemented it. And so the matter of improving the bassoon went on in an uninterrupted sequence until the fifties of the 19th century, when Eugene Jeancourt (1815-1901), in collaboration with Buffet (18??-?) and Crampon (18??-?), made a significant change in the device bassoon. In short, the modern, completely perfect bassoon owes its appearance to a number of outstanding masters, among whom, in addition to those already listed, one should also name Sax, Triebär, Almenräder (1786-1843), Haeckel and Boehm, whose valve mechanism, invented by him for the flute, was used after some time, although not very successfully on the bassoon.

Italian fagotto, lit. - knot, ligament; German Fagott, French. basson, English bassoon

Wind reed musical instrument. Appeared in the 20-30s. 16th century as a result of the reconstruction of an ancient bombard (pommer). Consists of a barrel, bell and es. The barrel is lat-shaped. letter U (as if folded in half) and has 3 bends: a bass pipe, a “boot” (has 2 channels; it contains the return stroke of the F. tube) and a wing (wing). Thanks to the change in design, the strength and roughness of sound characteristic of the Pommer and other predecessors of F. disappeared, which was reflected in the name. instrument (in the 16th century - dolcian, dulcian - dolcian, dulcian; from Italian dolce - tender, sweet). F. is made from maple (in the past it was made from beech, boxwood, sycamore or palm tree), now it is sometimes made from plastic. The sound is produced using a double reed reed placed on the es. The channel (length more than 2.5 m) is hollow-conical; drilling expanding towards the socket. Sound holes (25-30) b. h are covered with valves, only 5-6 of them are open, closed with fingers. Has special valves to facilitate blowing. Almost everywhere (except for French orchestras) F. with a German valve mechanism are used. systems. This kind of F. was created in 1834. master I. A. Heckel and bassoonist K. Almenroeder (the Heckel company, founded in 1831, still exists). F. Their design is with 24 valves and 5 open holes. The f. is made in S., in the scores it is written down in actual form. sound, range - B1 (sometimes A1, for example in R. Wagner's "Ring of the Nibelung") - e2 (g 2). In modern F. timbre is juicy and full in the lower (B1 - G) and less dense in the middle (G - g) registers; the high register (g - c2) has a melodious quality. The originality of the timbre in the high register gives the sound a special expressiveness; it approaches the plaintive intonations of the human voice (for example, in the ballet “The Rite of Spring” by Stravinsky); the highest register (c2 - e2) is compressed and very tense. Technical and arts. F.'s possibilities are great and varied - from virtuoso staccato and legato passages, various leaps to a gentle cantilena. F. is used mainly in symphony. orchestra (became a permanent participant in the late 17th century; in modern symphony orchestras there are two or three, rarely four F.; sometimes the 4th F. changes during performance to a contrabassoon), often used in chamber music and spirit. and estr. orchestras, as well as in ensembles and solos (concertos for F. with orchestra were written by A. Vivaldi, J. C. Bach, W. A. ​​Mozart, K. M. Weber, I. Power, as well as L. K. Knipper, B.V. Savelyev and others). F.'s part is notated in bass, tenor, treble (rarely) clefs and (as an exception) in alto clef (in the opera "The Woman of Pskov" by Rimsky-Korsakov).

In Russia, F. has been known since the end. 17 - beginning 18th centuries F. was widely used as a solo instrument in Russian. classic music, eg. M. I. Glinka ("Ruslan and Lyudmila", Spanish overture for orchestra "Aragonese Jota"), N. A. Rimsky-Korsakov (operas "Sadko", "The Legend of the Invisible City of Kitezh and the Maiden Fevronia", etc.) .

Of the many Varieties of F. that appeared in the 16th-19th centuries were widespread. types of small f., including fagottino (Italian fagottino), sounding an octave higher than f., tenor f. in G (less often in F; range G - f1), used ch. arr. for learning to play F., and Russian. F. (range G (F, E) - g1), similar to the serpent (differed by a metal cauldron-shaped mouthpiece), used in the military. orchestras. In Russia, such F. existed under the name. infantry and dragoon basses, produced in 1744-59 at the factory of E. T. Metsneninov, made of boxwood (master Ya. I. Rogov). In modern In practice, the contrabassoon has been preserved, which was included in their scores by W. A. ​​Mozart (orchestral piece “Masonic Funeral Music” and serenades for orchestra), J. Haydn (oratorios “The Creation of the World” and “The Seasons”), L. Beethoven (opera "Fidelio", 5th and 9th symphonies, "Solemn Mass", etc.), in the 20th century. - C. Debussy, P. Dukas, M. Ravel. The F. family also includes the rarely used sub-bassoon (invented in 1872 by master V. F. Cherven), which sounds an octave lower than the contrabassoon.

Literature: Chulaki M., Symphony Orchestra Instruments, L., 1950, p. 115-20, 1972; Rogal-Levitsky D., Bassoon, in his book: Modern orchestra, vol. 1, M., 1953, p. 426-66; Levin S., Fagot, M., 1963; his, Wind instruments in the history of musical culture, Leningrad, 1973; Neklyudov Yu., On constructive improvements to the bassoon, in the book: Methods of teaching playing wind instruments. Essays, vol. 2, M., 1966, p. 232-45.

A. A. Rosenberg

It has been used in the orchestra since the end of the 17th - beginning of the 18th century, and took a permanent place in it by the end of the 18th century. The timbre of the bassoon is very expressive and rich in overtones throughout the entire range. The lower and middle registers of the instrument are most common; the upper notes sound somewhat nasal and compressed. The bassoon is used in symphony orchestras, less often in brass orchestras, and also as a solo and ensemble instrument.

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History of the emergence and development of the bassoon

The appearance of the bassoon dates back to the first half of the 16th century. Its invention was for many years attributed to a canon from Ferrara named Afranio del Albonesi. In the 20th century, however, it was established that Afranio’s instrument was something like a bagpipe with metal reeds and had nothing in common with a bassoon.

The immediate predecessor of the bassoon was an ancient wind instrument called the bombarda. In contrast, the bassoon was divided into several parts for ease of manufacture and transportation. The change in design had a beneficial effect on the timbre of the instrument, which was reflected in its name - at first it was called “dulcian” (from Italian dolce - “gentle, sweet”). The name of the true inventor of the bassoon still remains unknown.

At the initial stage, bassoons had only 3 valves, in the 18th century - 5 valves, as well as octave valves, which significantly expanded the upper register.

At the beginning of the 19th century, the leading place in the music market was occupied by instruments of the French system, which had 11 valves. The author of these models was Jean-Nicole Savarri. Later, instruments of the model of the French masters A. Buffet and F. Treber appeared.

A special place in the history of the improvement of the instrument is occupied by the bassoonist and bandmaster Karl Almenröder, who together with Johann Adam Haeckel founded the production of woodwind instruments in Biebrich. In Almenröder he presented an improved 17-valve bassoon he had designed. This model was adopted as a basis and brought to perfection by the Haeckel company. French and then Austrian bassoons, produced in the middle of the 19th century by the company Ziegler and Son, could not withstand the competition with Haeckel's instruments and were supplanted in a number of countries.

The role of the bassoon in music

XVI–XIX centuries

In the early days of its existence, the bassoon served as amplification and duplication of bass voices. He began to play a more independent role at the beginning of the 17th century. Works for dulcian and one or two instruments accompanied by basso continuo appear - sonatas by Biagio Marini, Dario Castello, Giovanni Batista Buonamente, Giovanni Battista Fontana and other authors. The first composition for solo dulcian - Fantasia from the collection Canzoni, fantasie et correnti Bartolome de Selma y Salaverde, published in 1638 in Venice. The author assigned the solo instrument a rather complex part for those times in a range extended down to B 1 (B flat counter octave). Philipp Friedrich Boedeker's Sonata (1651) also places high demands on the performer. In a monumental work Grunde-richtiger … Unterricht der musicalischen Kunst, oder Vierfaches musicalisches Kleblatt(1687) by Daniel Speer there are two sonatas for three dulcians. All these works are designed for an instrument with two valves.

At the turn of the 17th–18th centuries, a new, improved instrument, the bassoon, began to rapidly gain popularity. First of all, he became part of the opera orchestra: in some of Reinhard Kaiser's operas up to five bassoons are used. Jean-Baptiste Lully interpreted the bassoon as a bass voice in a wind trio, where the upper voices were assigned to two oboes, and the trio itself was contrasted in timbre with the string section of the orchestra (for example, in the opera “Psyche”, 1678).

The bassoon was often used as one of the solo instruments in concert symphonies. The most famous of them belong to Haydn (for oboe, bassoon, violin and cello) and Mozart (for oboe, clarinet, bassoon and horn). Several concertos were written for two bassoons and orchestra.

Works for bassoon, starting from the second half of the 18th century, can be divided into two groups. The first of them is the works of the bassoonists themselves, such as F. Gebauer, K. Jacobi, K. Almenröder. Intended for personal performances, they were often written in the form of variations or fantasies on popular themes. The second is works by professional composers with the expectation of being performed by a specific musician. It includes concerts by K. Stamitz, Devien, Krommer, Danzi, Reicha, Hummel, Callivoda, M. Haydn, Kozeluch, Berwald and others. Carl Maria von Weber wrote the Concerto in F major, op. 75, for the Munich court bassoonist Brandt, in addition, he owns the Andante and the Hungarian Rondo, originally intended for viola. More recently, Gioachino Rossini's Concerto (1845) was discovered.

The bassoon was used much less frequently in chamber music. Only a few sonatas with piano are known: Anton Liste, Johannes Amon, Antonin Reich, Camille Saint-Saëns, small pieces were written by Ludwig Spohr and Christian Rummel. French bassoonist Eugene Jancourt expanded his repertoire with transcriptions of works written for other instruments.

The role of the bassoon in the 19th century orchestra is also quite modest. Berlioz reproached him for the lack of expression and power of sound, although he noted the special timbre of his upper register. Only from the second half of the century did composers begin to assign solo episodes to the bassoon, for example, Bizet in the opera Carmen, Tchaikovsky in the Fourth and Sixth Symphonies, etc.

XX-XXI century

Thanks to improvements in the design of the bassoon and the technique of playing it, its repertoire expanded significantly in the 20th century. Solo literature for the bassoon was written by:

• Edward Elgar, Romance for bassoon and orchestra, Op. 62 (1909)
• Ermanno Wolf-Ferrari Suite-Concertino F-Dur for bassoon, string orchestra and two horns, Op. 16 (1932)
• Heitor Villa-Lobos, "Dance of the Seven Notes" for bassoon and string orchestra (1933)
• Victor Bruns 4 concertos for bassoon: Op. 5 (1933), Op. 15 (1946), Op. 41 (1966) and Op. 83 (1986)
• Jean Français Divertissement for bassoon and string orchestra (1942); Concerto for bassoon and 11 strings (1979); Quadruple Concerto for flute, oboe, clarinet and bassoon with orchestra
• Eugene Bozza Concertino for bassoon and chamber orchestra, Op. 49 (1946)
• Gordon Jacob Concerto for bassoon, percussion and string orchestra (1947)
• Paul Hindemith Concerto for trumpet, bassoon and string orchestra (1949)
• Franco Donatoni Concerto for bassoon and orchestra (1952)
• André Jolivet Concerto for bassoon, harp, piano and string orchestra (1954)
• Stjepan Szulek Concerto for bassoon and orchestra (1958)
• Henri Tomasi Concerto for bassoon and orchestra (1961)
• Bruno Bartolozzi Conzertazioni for bassoon, strings and percussion (1963)
• Henk Budings Concerto for bassoon, contrabassoon and brass band (1964)
• Lev Knipper Double Concerto for trumpet, bassoon and orchestra (1968); Bassoon Concert with Orchestra (1970)
• Sofia Gubaidulina Concerto for bassoon and low strings (1975)
• Nino Rota Bassoon Concerto (1974-77)
• Pierre Boulez “Dialogue of two shadows” transcription for bassoon and electronics (1985-1995)
• Luciano Berio Sequenza XII for solo bassoon (1995)
• John Williams "The Five Sacred Trees" concerto for bassoon and orchestra (1995)
• Yuri Kaspar ov Concerto for bassoon and orchestra (1996)
• Moses Weinberg Sonata for solo bassoon, Op. 133
• Edison Denisov 5 etudes; Sonata for solo bassoon.
• Alexander Tansman Sonatina for bassoon and piano
• Frank Bedrossian "Transmission" for bassoon and electronics (2002)
• Marjan Mozetić Concerto for bassoon, marimba and string orchestra (2003)
• Pierluigi Billone “Legno. Edre V. Metrio" for solo bassoon (2003); "Legno.Stele" for two bassoons and ensemble (2004)
• Kalevi Aho Concerto for bassoon and orchestra (2004)
• Wolfgang Rihm “Psalmus” for bassoon and orchestra (2007)

Important orchestral parts were assigned to the bassoon by Maurice Ravel, Igor Stravinsky, Carl Orff, and Sergei Prokofiev. There are extended solo parts in the Seventh, Eighth and Ninth Symphonies of Dmitry Shostakovich.

In chamber music, the bassoon plays an important role. The bassoon is used in chamber works by such composers as Camille Saint-Saens (Sonata for bassoon and piano), Francis Poulenc (Sonata for clarinet and bassoon), Alfred Schnittke (Hymn III, IV), Paul Hindemith (Sonata for bassoon and piano) -no), Heitor Villa-Lobos (Brazilian Bahiana), Sofia Gubaidulina, Jean Français, Igor Stravinsky (“History of a Soldier”), André Jolivet (“Christmas Pastoral” for flute, bassoon and harp), Yun Isan, Kalevi Aho and others .

Bassoon structure

The bassoon is a long, hollow-conical tube. For greater compactness, the air column inside the instrument is folded in half. The main material for making a bassoon is maple wood.

The body of the bassoon consists of four parts: the lower knee (“boot”, which has a U-shape), the small knee (“wing”), the large knee and the bell. From the small knee extends a thin long metal tube, bent in the shape of the letter S (hence its name - es), onto which a cane - the sound-producing element of the bassoon - is attached.

There are numerous holes on the body of the instrument (about 25–30), by opening and closing which the performer changes the pitch of the sound. Only 5-6 holes are controlled by fingers; for the rest, a complex valve mechanism is used.

Frequency range - from 58.27 Hz (B-flat counteroctave) to 698.46 Hz (F2, F of the second octave). Spectrum - up to 7 kHz. Formants - 440-500 Hz, Dynam. range - 33 dB. The sound is directed upward, backward, forward.

Bassoon playing technique

In general terms, the technique of playing the bassoon resembles that of the oboe, however, the breath on the bassoon is consumed faster due to its larger size. The staccato bassoon is clear and sharp. Jumps of an octave or more are good; the change of registers is almost imperceptible.

The bassoon technique is most characterized by alternating melodic phrases of medium breathing with various shades of scale-like passages and arpeggios, mainly in a staccato presentation and using various leaps.

Bassoon range - from B 1(B-flat counteroctave) to f²(F of the second octave), it is possible to extract higher sounds, but they are not always stable in sound. The bassoon can be equipped with a bell that allows you to extract la counter octaves (this sound is used in some of Wagner's works). Notes are written in bass, tenor, and occasionally in treble clef in accordance with the actual sound.

The latest playing techniques that entered the performing practice of bassoonists in the 20th century are double and triple staccato, playing several sounds on the instrument simultaneously (multiphonics), quarter-tone and third-tone intonation, frullato, tremolo, glissando, circular breathing and others. These techniques are most in demand in the works of avant-garde composers, including for solo bassoon.

French and German traditions

Most bassoons used in modern orchestras belong to the German system, copying, in general terms, the mechanics developed by the German company Haeckel. At the same time, in French-speaking countries, an instrument of the French system, which differs significantly from the German one, is in use. The French bassoon also has a more “lyrical” timbre.

Varieties of bassoon

In modern orchestral practice, along with the bassoon itself, only one of its varieties, the contrabassoon, has been preserved - an instrument with the same valve system as the bassoon, but sounding an octave lower than it.

At different times, there were also higher-sounding varieties of the bassoon. Michael Pretorius in one of the first major works on instrumentation in history Syntagma musicum(1611) mentions a family of tall dulcians in three varieties, designated as Diskantfagott, Altfagott And Fagott Piccolo. They were in use until the end of the 17th century, but even with the advent and spread of the modern bassoon, craftsmen continued to make instruments of high tunings, many of which have survived to this day. They were usually tuned to a fifth (rarely a fourth or minor third) higher than a regular bassoon. In English-language literature such instruments are known as tenoroon, and in French as basson quinte. There was also an even higher variety, sounding an octave higher than the bassoon, called “bassoon” or “small bassoon”. An early copy of such an instrument by I. K. Denner is kept in Boston.

The small bassoon was used sporadically in 18th-century scores. At the beginning of the 19th century, in some opera houses in France they replaced the English horn, and Eugene Jeancourt practiced solo performance on it. However, by the end of the 19th century, all high varieties of bassoon had fallen out of use.

In 1992, bassoon maker Guntram Wolf made a small bassoon for the first time in many years for the British bassoonist Richard Moore, who commissioned composer Victor Bruns to write several works for him. Another area of ​​application for the small bassoon is learning to play: Karl Almenröder also advised starting training at the age of ten on small varieties of the bassoon, so that at an older age you can easily switch to a large instrument. Wolf also developed a tool contraforte with a wider scale and larger reed, but with the same range as a contrabassoon, capable of producing louder sounds (hence the name).