After 1730, the German bassoon's range expended up to B♭4, and much higher with the French instrument.
Some players, for example the late Gerald Corey in Canada, have learned to play both types and will alternate between them depending on the repertoire. ==Use in ensembles== === Ensembles Prior to the 20th Century === ==== Pre-1760 ==== Prior to 1760, the early ancestor of the bassoon was the dulcian.
By 1800, there was at least one bassoon in the United States Marine Band.
5 volumes Domínguez Moreno, Áurea: Bassoon Playing in Perspective: Character and Performance Practice from 1800 to 1850.
Almenräder's improvements to the bassoon began with an 1823 treatise describing ways of improving intonation, response, and technical ease of playing by augmenting and rearranging the keywork.
In 1829, he wrote that the bassoon was capable of expressing "the worthy, the virile, the solemn, the great, the sublime, composure, mildness, intimacy, emotion, longing, heartfulness, reverence, and soulful ardour." In G.F.
In 1831, Almenräder left Schott to start his own factory with a partner, Johann Adam Heckel. Heckel and two generations of descendants continued to refine the bassoon, and their instruments became the standard, with other makers following.
Almenräder continued publishing and building instruments until his death in 1846, and Ludwig van Beethoven himself requested one of the newly made instruments after hearing of the papers.
5 volumes Domínguez Moreno, Áurea: Bassoon Playing in Perspective: Character and Performance Practice from 1800 to 1850.
Metal bassoons were made in the past but have not been produced by any major manufacturer since 1889. ===Reeds=== The art of reed-making has been practiced for several hundred years, some of the earliest known reeds having been made for the dulcian, a predecessor of the bassoon.
Kruspe implemented a latecomer attempt in 1893 to reform the fingering system, but it failed to catch on.
By the mid 1900s, broadcasting and recording grew in popularity, allowing for new opportunities for bassoonists, and leading to a slow decline of live performances.
It first began appearing in the 1920s, when Garvin Bushell began incorporating the bassoon in his performances.
The conductor John Foulds lamented in 1934 the dominance of the Heckel-style bassoon, considering them too homogeneous in sound with the horn.
Heckel himself had made over 1,100 instruments by the turn of the 20th century (serial numbers begin at 3,000), and the British makers' instruments were no longer desirable for the changing pitch requirements of the symphony orchestra, remaining primarily in military band use. Except for a brief 1940s wartime conversion to ball bearing manufacture, the Heckel concern has produced instruments continuously to the present day.
Mueller, Frederick), The Art of Bassoon Playing, Summy-Birchard, 1958 Stauffer, George B.
In the 1960s, Giles Brindley began to develop what he called the "logical bassoon", which aimed to improve intonation and evenness of tone through use of an electrically activated mechanism, making possible key combinations too complex for the human hand to manage.
The next few decades saw the instrument used only sporadically, as symphonic jazz fell out of favor, but the 1960s saw artists such as Yusef Lateef and Chick Corea incorporate bassoon into their recordings.
Several 1960s pop music hits feature the bassoon, including "The Tears of a Clown" by Smokey Robinson and the Miracles (the bassoonist was Charles R.
An Exploration into the Validity and Treatment of the Bassoon in Duet Repertoire from 1960 - 2016 (DMA).
Publications Baines, Anthony (ed.), Musical Instruments Through the Ages, Penguin Books, 1961 Jansen, Will, The Bassoon: Its History, Construction, Makers, Players, and Music, Uitgeverij F.
In the 1970s it was played, in the British medieval/progressive rock band Gryphon, by Brian Gulland, as well as by the American band Ambrosia, where it was played by drummer Burleigh Drummond.
From 1974 to 1978, the bassoon was played by Lindsay Cooper in the British avant-garde band Henry Cow.
From 1974 to 1978, the bassoon was played by Lindsay Cooper in the British avant-garde band Henry Cow.
Conversely, a poorly played Buffet can sound buzzy and nasal, but good players succeed in producing a warm, expressive sound. Though the United Kingdom once favored the French system, Buffet-system instruments are no longer made there and the last prominent British player of the French system retired in the 1980s.
The Belgian Rock in Opposition-band Univers Zero is also known for its use of the bassoon. In the 1990s, AimeeDeFoe provided "grouchily lilting garage bassoon" for the indie-rock band Blogurt from Pittsburgh, Pennsylvania.
Publications Journal of the International Double Reed Society (1972–1999, in 2000 merged with The Double Reed), I.D.R.S.
"Bassoon", 2001 Spencer, William (rev.
FagotAielier Maarten Vonk, 2007. Hall, Ronn K.
Bengt Lagerberg, drummer with The Cardigans, played bassoon on several tracks on the band's album Emmerdale. More recently, These New Puritans's 2010 album Hidden makes heavy use of the instrument throughout; their principal songwriter, Jack Barnett, claimed repeatedly to be "writing a lot of music for bassoon" in the run-up to its recording.
The Selmer Company stopped fabrication of French system bassoons around the year 2012.
. Kopp, James B., The Bassoon (Yale University Press; 2012) 297 pages; a scholarly history Sadie, Stanley (ed.), The New Grove Dictionary of Musical Instruments, s.v.
University of Helsinki, 2013.
An Exploration into the Validity and Treatment of the Bassoon in Duet Repertoire from 1960 - 2016 (DMA).
This instrument made its debut with the band in their 2020 charity concert in the Tremont neighborhood.
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