About the music

Music for fagottino and tenoroon: rethinking the bassoon repertoire

Until recently, only a few examples in musical scores explicitly specifying “fagottino” or tenoroon” had been located. More are being discovered and documented during this project. Furthermore, references that appeared in original manuscripts are sometimes no longer printed in subsequent editions of the music, making it even harder to identify the music conceived for small-sized bassoons.

Nevertheless, the existence of a substantial number of surviving instruments—as shown by our catalogue—indicates that those instruments were indeed in use during the eighteenth and nineteenth centuries. On this basis, we are actively reconsidering bassoon repertoire, bearing in mind the suitability of which-sized instrument to the music and clues about historical performance practices. Our goal is to create a repertoire list suggesting what might have been written for and performed with fagottino or tenoroon.

How can we claim that something could have been written for fagottino or tenoroon? 

Aside from cases where the instrument name is indicated in the score, we have developed a method to determinate the suitability of the small bassoons for a specific piece of music. The goal of this process is to determine possible fagottino music and to collect data that makes it possible to answer this key question. For that reason, each analysis addresses questions such as the range and viability of performance in a different key, as well as other musical aspects. This necessitates knowledge of historical bassoon key- and fingering-systems and other particularities in different time periods and regions.

Music hypothetically conceived for small-sized instruments is also connected to the instrument catalogue, thereby positioning works in a musical context of its time. In this way it is possible to draw connections between specific instruments or instrument makers and their regions, where direct contact with composers was certainly a probability. Additionally, the repertoire list includes several discussion points explaining why it is arguable that a specific piece of music be performed on a fagottino, a tenoroon in G, or one in F. 

Suggested repertoire list

Note: This list is being regularly updated and revised. Please click on the composer in the table to view information about the specific listed works by composer or scroll down to view all works in alphabetical order. We welcome any new additions; write us a mail.

ANFOSSI, Bonifacio Domenico Pasquale (1727–97)

Achille in Sciro, Scena, Andante, Deidamia’s Aria “Ah tacete intorno al core di furor tiranni oggetti”  / 1774 Rome /  OPERA /  S, vn (2), va, bc, fagottino, tpt (2), hn (2) / Range:  A–e’. Scored for “fagottino”

The term “Fagottino” first appears on page 5 of folio 23, at the beginning of Deidamia’s Aria “Ah tacete intorno al core di furor tirannioggetti’” where the fagottino is notated in bass clef, in A major.  The manuscript is located in the Vernadsky National Library of Ukraine.

BEETHOVEN, Ludwig van (1770–1827)

Trio für Klavier, Flöte, Fagott WoO.37, Movement II. Adagio / ca. 1786, Bonn / Chamber music (Trio) fl, bsn, pno / Range: D–c”. Scored for bassoon but the second movement is suitable for tenoroon in G. Mus.ms.autograph, Berlin, Staatsbibliothek zu Berlin – Preußischer Kulturbesitz, (RISM ID no.: 464001742).

The Adagio opens with the theme in the bassoon line accompanied by the pianoforte, written in a piano dynamic. On the full-sized bassoon, the ornament in the theme is difficult to execute fluidly and transparently, due to complicated fingering combinations in the extreme high register. The theme is repeated in unison with the flute (scored in an easy middle register) in the following section. The rest of the Adagio is also written in the high register for the bassoon (with the exception of one low D in bar 60) and the tone quality of the tenoroon is mild and pleasant, as demanded in the musical context of this movement, which is not technically demanding in this tempo and register. Contrastingly, if played on the full-sized instrument, this register can sound forced, unnatural, and uncomfortable.

TRANSPOSITION: Tenoroon in G: G minor to C minor, tenor clef is read as if bass clef, adding one flat to the key signature. Fingerings used as if full-sized instrument, not considering sounding pitch. According to James Kopp (2012: 225) in The Bassoon  and Richard Moore (“The Renaissance of the Tenor Bassoon”, Double Reed News 19 (1992), 37–9) this work was composed for an amateur, who presumably used a tenoroon for this movement.

CIMAROSA, Domenico (1749–1801)

Artemisia regina di Caria / 1797 First performance (Naples) / Opera seria / S (3), T (2), B, Coro S, Coro A, Coro T, Coro B, vl (2), vla, b, ob (2), cl (2), fag (2), cor (2), tr (2), fag.picc /

From RISM: Library (siglum) shelfmark: Roma, Biblioteca privata dei Principi Massimo (I-Rmassimo)

COBALEDA, Alonso de (1683–1731)

Miserere a diez de el Mro. / Miserere in C major / 1725 / Sacred (choral) / Chorus (2), tenoroon, hpdZamora, Archivo Catedralicio de Zamora (EZAc) Psalms in Latin.

CZEYKA, Valentin (1769–1834)

Variationen für Fagott / ca. 1815, Vienna / Solo / tenoroon, keyboard. Scored for tenoroon. 

Born in Prague, Czeyka (Czejka) arrived in Vienna in 1802 as bassoonist in the Theater an der Wien. Beethoven wrote many solos in his symphonies for Czeyka. He went on to become Militärkapellmeister in Naples in 1821.

Czejka performed his own variations for “Tenorfagott” on two occasions: firstly on the 21 March 1815 for the benefit concert of the Armen Fond of the Kärntnertor Theatre; on the 22 January 1821 in the first of two large concerts in honour of the famous soprano Angelica Catalani on the occasion of her retirement. This music has not yet been located. 

Czeyka variations are discussed as music performed on tenoroons in several sources such as: James B. Kopp, The Bassoon, Yale University Press 2012, 226; Theodore Albrecht, “Valentin Czejka im Theater an der Wien: Der Solofagottist in Beethovens mittlerer Schaffenszeit”, in: Oboenjournale 40–42,( December 2008–June 2009), 1–24; Klaus Hubmann, “Hoch Gestimmte Fagotte (Tenorfagotte) in der Musik vom späten 16. bis zum späten 18. Jahrhundert”, in: Christian Ahrens, Gregor Klinke (ed.), Flöte, Oboe, Klarinette und Fagott: Holzblasinstrumente bis zum Ende des 18. Jahrhunderts (München–Salzburg: Katzbichler, 2011), 71–84.

DARD, Antoine (1715–84)

First Sonata from Six Sonates pour le basson ou violoncel avec la basse continue / 1759 / Solo bsn/vlc, bc / Range: D–d” / Scored for bassoon but also suitable for tenoroon in G

Of all the six sonatas, only the first ascends to high d”, in the second movement (Allegro) in bars 25, 26 and 27. Despite the fact that there is a octave-lower alternative given for the above measures, the whole sonata is played more fluently with a tenoroon in G, musically and technically. The third movement, Minuetto, is light and virtuosic. TRANSPOSITION: Tenoroon in G: C major to F major; whole movement is notated in tenor clef, and can be read in bass clef, adding one flat to the key signature.

Second Sonata from Six Sonates pour le basson ou violoncel avec la basse continue / 1759 / Solo bsn/vlc, bc / Range: D – b’ / Scored for bassoon but also suitable for tenoroon in G

The second sonata is mostly written in tenor clef, remaining almost totally in the tenor register. The key of C major suits the tenoroon in G very well, making this sonata very easy and technically comfortable, and therefore offering a good option. TRANSPOSITION: Tenoroon in G: G major to C major. Tenor clef read as bass clef, taking away one sharp from the key signature.                                         

Third Sonata from Six Sonates pour le basson ou violoncel avec la basse continue / 1759 / Solo bsn/vlc, bc / Range: C–c” / Scored for bassoon but also suitable for tenoroon in G

The first movement (Adagio) ascends in the last three bars to the high c”. The other phrases, on the other hand, remain lower. It would only be possible to use a tenoroon in G for the first movement. In the same movement, a low C is found in the second bar, which is in unison with the bass, and therefore playable one octave higher without disturbing the melodic line. TRANSPOSITION: Tenoroon in G: C minor to F minor, adding one flat to the key signature.

Fourth Sonata from Six Sonates pour le basson ou violoncel avec la basse continue / 1759 / Solo bsn/vlc, bc / Range: F–c” / Scored for bassoon but also suitable for tenoroon in G

The first movement is mostly written in tenor clef and thus easily transposed for a tenoroon in G. In the second movement (Allegro ma non troppo), the solo part ascends to the high c” in measure 9. There is a written alternative one octave lower (suggesting that it was not possible for some players to play so high). The lowest note is one single F in the last bar, as in the first movement. TRANSPOSITION: Tenoroon in G: F major to B major, tenor clef read as bass clef, and one flat added to the key signature.

Sixth Sonata from Six Sonates pour le basson ou violoncel avec la basse continue / 1759 / Solo bsn/vlc, bc / Range: G–a’ / Scored for bassoon but also suitable for tenoroon in G

This sonata is noted in tenor clef, and uses only the middle and high registers of the instrument. The lowest tone is G and using a tenoroon in G, this sonata is very light, pleasant and technically easy to play in this register. This is true of all four movements. TRANSPOSITION: Tenoroon in G: A minor to D minor.

DAUVERGNE, Antoine (1713–97)

Canente, Entrée, chœr et scène Où suis-je, hélas – “Premier air pour les Magiciens” / 1760, Paris / Opera / bsn (2) / Range: g–b’-flat / This aria is scored for two bassoons but suitable for two fagottini. 

This ‘lentement’ requires obligato playing in the tenor register and leaps up to sustained b’-flat’ which is not doubled in any of the string parts. Played on two fagottini, the articulation of dotted rhythms and 32nd notes in the tenor register becomes more responsive due to the size of the instrument. TRANSPOSITION: Fagottini in C: is read in tenor clef, an octave lower. Tenoroon in G: transposition puts it in the more difficult key of B-flat minor, rather than the original F minor.

DIETER, Christian Ludwig (1757–1822)

Concerto for two bassoons in B flat major / Solo bsn, orch

Music suggested by Klaus Hubmann as played or composed for small-sized bassoon in “Hoch Gestimmte Fagotte (Tenorfagotte) in der Musik vom späten 16. bis zum späten 18. Jahrhundert”, in: Christian Ahrens, Gregor Klinke (ed.), Flöte, Oboe, Klarinette und Fagott: Holzblasinstrumente bis zum Ende des 18. Jahrhunderts (München–Salzburg: Katzbichler, 2011), 71–84.

DÜRNIZ, Thaddäus Freiherr von (1756–1807)

Concerto in C for Bassoon / 1733 /Solo bsn, vln (2), ob oblg (2), hn (2), va oblg (2), bass 1. 

Music suggested by Klaus Hubmann as played or composed for small-sized bassoon in “Hoch Gestimmte Fagotte (Tenorfagotte) in der Musik vom späten 16. bis zum späten 18. Jahrhundert”, in: Christian Ahrens, Gregor Klinke (ed.), Flöte, Oboe, Klarinette und Fagott: Holzblasinstrumente bis zum Ende des 18. Jahrhunderts (München–Salzburg: Katzbichler, 2011), 71–84.

Three Sonatas for concertante Bassoon, harpsichord or fortepiano 5408/1 / Solo bsn, bc  
Sonata 1: F major, 1. Adagio – Allegro G–g’, 2. Rondo d–a’,  
Sonata 2: 1. Allegro ma ben Sofsato (?) C–c”, 2. Rondeaux Allegretto c–c”. 
Sonata 3: 1. Allegro G–c”, 2. Rondo Allegro d–c”

Music suggested played or composed for small-sized bassoon by Hubmann and Kopp in: Hubmann, Klaus, “Hoch Gestimmte Fagotte (Tenorfagotte) in der Musik vom späten 16. bis zum späten 18. Jahrhundert”, in: Christian Ahrens, Gregor Klinke (ed.), Flöte, Oboe, Klarinette und Fagott: Holzblasinstrumente bis zum Ende des 18. Jahrhunderts (München–Salzburg: Katzbichler, 2011), 71–84. James B. Kopp, The Bassoon, Yale University Press 2012, 225, Klaus Hubmann, Wolfgang Freiherr von Dürniz und seine Kompositionen für Fagott, in “Fagott forever, Festschrift für Karl Öhlberger”, Wilhering 1992, 29–37. 

Three Sonatas for concertante Bassoon, harpsichord or fortepiano 5408/2 / Solo bsn, bc 

Sonata 1: 1. Allegro Maestoso B–g’, 2. Rondo Allegro c–c”. Sonata 2: 1. Allegro Moderato Bb–a’, 2. Rondo Allegro eb–g’ Sonata 3: 1. Adagio – allegro – adagio – allegro G–c”, 2. Tempo di menutto ma un poco allegro e–g’

Music suggested by Klaus Hubmann and James Kopp as played or composed for small-sized bassoon in Klaus Hubmann “Hoch Gestimmte Fagotte (Tenorfagotte) in der Musik vom späten 16. bis zum späten 18. Jahrhundert”, in: Christian Ahrens, Gregor Klinke (ed.), Flöte, Oboe, Klarinette und Fagott: Holzblasinstrumente bis zum Ende des 18. Jahrhunderts (München–Salzburg: Katzbichler, 2011), 71–84; and James B. Kopp, The Bassoon, Yale University Press 2012, 225.

FISCHER, Johann Kaspar Ferdinand (1656–1746)

Overturen Suiten [Scoring unspecificied] 

Music possible to perform with strings or winds. Hubmann questions what instrument would play the tenor parts that go too low for the Taille (baroque tenor oboe) in a double reed ensemble instrumentation for overture suites. 

Music suggested by Klaus Hubmann as played or composed for small-sized bassoon in “Hoch Gestimmte Fagotte (Tenorfagotte) in der Musik vom späten 16. bis zum späten 18. Jahrhundert”, in: Christian Ahrens, Gregor Klinke (ed.), Flöte, Oboe, Klarinette und Fagott: Holzblasinstrumente bis zum Ende des 18. Jahrhunderts (München–Salzburg: Katzbichler, 2011), 71–84.

FROST, Johann Georg Michael (Johann Kaspar Trost?) (Late 18th century)

Parthia No. IV / 2nd half of 18th century / Wind Ensemble: fagottini (2), tenoroons in F (2), bsn (2), hn (2) Range: G–f ” / Scored for fagottino, tenoroon and bassoon. 

Music in four movements 1. Allegro (C major), 2. Grave (c minor), 3. Menuetto Trio (C major and c minor), 4. Finale (C major). The 1st fagottino part requires controlled and refined solo playing up to f” in the Grave, taking advantage of the higher register of the instrument and generally extends no lower tham g throughout the Parthia. The 1st tenoroon in F takes on a similar role to that of the first fagottino, as a melodic solo instrument, also doubling the melody where written in the middle register, giving the advantage of a different sound colour. The 2nd fagottino part never extends lower than e, making no use of left hand thumb fingerings. Both the fagottini and tenoroons are used in pairs in the melodic line, in thirds.  

Little is known about J.G.M. Frost, but in an entry in a organ builder’s album from 6th August 1786, in Dresden, he describes himself as “Churfürstlicher Sächsischer Hofpfeifer.” The daughter of J.G.M. Frost, Karoline Wilhelmine Frost, married the instrument maker Johann Heinrich Grenser in 1805.

TRANSPOSITION: Fagottino in C: written in French violin clef, read as bass clef. Tenoroons in F: parts transposed .

This piece of music is discussed in: H. Jean Hedlund, “Ensemble Music for Small Bassoons”, in: Galpin Society Journal 11 (1958) 78–84, Klaus Hubmann “Hoch Gestimmte Fagotte (Tenorfagotte) in der Musik vom späten 16. bis zum späten 18. Jahrhundert”, in: Christian Ahrens, Gregor Klinke (ed.), Flöte, Oboe, Klarinette und Fagott: Holzblasinstrumente bis zum Ende des 18. Jahrhunderts (München–Salzburg: Katzbichler, 2011), 71–84, James B. Kopp, The Bassoon, Yale University Press 2012, 225–26, Lyndesay G. Langwill, The bassoon and contrabassoon, Karl Ventzke, “Ensemble Music for Small Bassoons”, in Galpin Society Journal 30 (1977), 151–53. 

GRAUPNER, Christoph (1683–1760)

Die Liebe sey nicht falsch GWV 1171/16 / 1716 / Cantata /  C(2), A (3), T B, vl (2), va, vc, bc, bsn (2) / Range:  a–d”

The title page of the parts of this cantata states ‘2 Fagott Obl; these two obligato fagotti parts are both written in alto clef in the score, but in parts marked ‘bassono’, they are in bass clef. The alto clef parts appear in full in the violin parts as well. [P. 6 of MS]

The only surviving bassoon part, marked ‘bassono 1’, consists of Aria No. 5. ‘Wir leben recht verkehrt’ , is written entirely in bass clef and contains none of the other movements of the cantata. This aria in the score consists of two alto clef parts, a canto part and the basso continuo line. The alto clef parts appear in the violin parts, also written in alto clef. In bar 11, the bass line stops for four bars and the second bassoon and second violin parts take up this role. The absence of the bass part at this point further suggests the octave Graupner requests is that which is notated in alto clef in the score. If the second bassoon part is performed on full-size bassoon, the part then lies below the bass line in places. A question that arises is why this aria in the violin parts is notated in alto clef, when the rest of the cantata is notated in treble clef and the rest of the cantata uses a similar range. Could the violinists or bassoonists have changed instruments? Given that the aria is surrounded by recitatives, this would allow sufficient time. 

TRANSPOSITION: Fagottini in C, D major: D major. Autograph Score and parts (June 1716) IMSLP.

HANDEL, George Friederic (1685–1759)

Alexander’s Feast or The Power of Music, Larghetto / 1736, London, first performance Covent garden/ Sacred (Choral)/ bn (3), va (2), vc, db, org / d–c” / Scored for bassoon but [parts] suitable for two fagottini.

Scored for bassoon but [parts] suitable for two fagottini. The Largo Legato appears in the second part of Handel’s oratorio. The bassoons play in unison with the violas throughout.  The first bassoon/viola part is written in alto clef and the second in tenor clef. In several bars (18–21 and 28), an alternative is written an octave lower when the line ascends to c”. Played with fagottini, the unison with violas can be maintained throughout and the melodic line is uninterrupted without an octave change.  

TRANSPOSITION: Fagottino in C: First bassoon part – alto clef read as if bass clef, but one tone lower (sounding an octave higher, in the same octave as the written alto clef). Second bassoon part read in tenor clef an octave lower. 

HAYDN, Joseph (1732–1809)

Stabat Mater, Hob.-Verz XX bis 1767 version Hob XXa:1 with oboes and english horns (first performed in Vienna March 25th  1768), 1784 version Hob.-Verz XX bis with Fagotti in Eb, printed London / Sacred /  tenoroon (2). Range: b^b–b^b” / Scored for “Fagotti in Eb” / Suggested: Tenoroons in F. 

There are two movements within this work calling for the use of fagotti in Eb. [It is unclear what is meant by “fagotti in Eb”]. One possible explanation is that this refers to an instrument where the lowest note is a sounding Eb. If this is the case, it would mean that the instrument referred to here as “fagotti in Eb” is what we denominate tenoroon in F.

The first is an aria for alto, Larghetto. If played on a tenoroon in F the fingering range would be the lowest note on the instrument – B^b – and not in the octave in which the parts are written. The resulting range would be Eb–eb’, an octave below the written pitch of the violins. TRANSPOSITION: If played with tenoroon in F (not Eb), in the key of Bb (as notated in the score), the player reads treble clef, and the transposition produces a tone sounding a fourth higher: Bb major to Eb major.            

References for this music are found in: Lyndesay G. Langwill, The bassoon and contrabassoon, London: Ernest Benn, 1965, 111. Klaus Hubmann “Hoch Gestimmte Fagotte (Tenorfagotte) in der Musik vom späten 16. bis zum späten 18. Jahrhundert”, in: Christian Ahrens, Gregor Klinke (ed.), Flöte, Oboe, Klarinette und Fagott: Holzblasinstrumente bis zum Ende des 18. Jahrhunderts (München–Salzburg: Katzbichler, 2011), 71–84.

HILL, Uri Keeler (1785–1884)

“Govenor Sullivan’s March” / 1807–1808 /  Wind Ensemble: cl (2), tenoroon, bsn / Range: c–g’

This march in C major is scored for two clarinets, tenoroon and bassoon in the score. All parts are written in concert pitch. TRANSPOSITION: Tenoroon in G: C major to F major, tenor clef is read as if bass clef.           

Music referenced in James B. Kopp, The Bassoon, Yale University Press 2012, 226.            

HOFFMANN, J.G.  (NN)

Concerto à 2 Viole d’Amore, 2 Baffonetti e Baffo

Music referenced in Michael C. Finkelman, The lower oboes, a treatise on their history and literature, I. The hundred years of music for the lower oboes, 1660s-1960s: a bibliography/ discography, Boston: Michael Craig Finkelman 2020.  In Verzeichniß Musicalischer Werk, Erste Ausgabe, Leipzig in der Michaelmesse 1761, 54.   

KEISER, Reinhard (1674–1739)

Cantatas in Arkadien “Gemüths-Ergötzung”, Die verliebte Diana, 4. “Philomile, deinen Willen zu erfüllen” / 1698 / Sacred / Range: g–d” / Aria Spiritosa, con violette unisone ô Fagotto Solo e Hautb. Manuscript copy of the printed version in Deutsche Staatsbibliothek zu Berlin – Preußischer Kulturbesitz, Musikabteilung, Mus.ms. 30227 (2) (RISM ID no.: 455032957).

Brockes Passion or or Der für die Sünde der Welt gemarterte und sterbende Jesus / 1712, Hamburg / Sacred / bsn (3), vl (2), vla, vlc / Range:  d–f’  / Scored for 3 ‘bassono’ and 2 ‘bassoni’ but parts suitable for fagottino. 

In the first aria (p 39 of MS): if the first two bassono parts are played on fagottini, the two violin parts double in the same octave. The range of the first two bassoon parts is very contained, between f–eb’. The bass and third bassoon part in this aria often lie in the same register / written range as the first two bassoon parts, but extend down to F. In bar 5, the first two bassoons play sixteenth notes which are not doubled in the violin octave, accompanied by eighth notes in the violins, then leading into unison of the bassoons and violins. In the second ‘aria con 2 bassoni’, bar 12 in the bass part is higher than the two bassoon parts, if played on full-size bassoon. 

Die Edelmühtige Octavio, Aria “Geloso sospetto tormenta”, “Holde strahlen, werthes licht”, Aria of Livia “Wie lieblich spielet Ihr” / 1705, Hamburg / Opera / S, ob (2), bsn (5), vl (2), vla, bassi / Range: d–g’ and Bb–g’ / Scored for five bassoons, but suitable for a mixture of sizes

Keiser wrote in a letter to the court of Württemberg dated 3rd Novemeber 1720 offering two suites he had recently composed for bassoon octet stating that ‘when men are all drilled on this instrument, such a harmonie makes a special effect’. An inventory of instruments at Württemberg 1718 includes a G tenoroon. Between 1721 and 1728 Keiser split his time between Hamburg and Copenhagen, where he was Master of the Danish royal chapel. According to Kopp the Danish royal oboe band incorporated eight bassoons of varying sizes, in equal numbers, which it seems oboists were forced to play. Keiser noted in 1720 that ‘the king of Denmark has eight such bassoons and bassonets in his Grenadier Guards, which are extremely pompous (solemn) and pleasing to hear’.

The first aria of Octavia, “Geloso sospetto tormenta” of is scored for five bassoons but could be suitable for a mixture of full-sized bassoons, fagottino or tenoroon. The first two parts are written with floridly ornamented melodic lines in a narrow tenor range, 1st f#–g’ and 2nd d–f’ ; the other three parts fill in harmonies and texture with moving eighth notes, sustained notes and the bassline. TRANSPOSITION: Fagottino in C: c minor or tenoroon in G: c minor to f minor.

The second aria in G major, “Holde strahlen, werthes licht”, is scored for two ‘bassoni’, soprano and basso continuo and covers only a narrow range in both bassoon parts: 1st bassoni d–e’ and 2nd d–c’. As both parts never extend below d, they could be played on fagottino in C at the written pitch, or with written fingerings sounding therefore an octave higher and accompanying in the same register as the soprano. Both suggestions could create interesting sound combinations. TRANSPOSITION: Fagottino in C: G major or Tenoroon in G: G major to C major.

The third aria, “Wie lieblich spielet Ihr” (Arie con bassoni, con affeto), also consists of two obbligato bassoon parts. The range used is more extended than that of the previous arias but would still be comfortably performed on smaller bassoons, although both parts would be possible on full-size bassoon. 1st bassoon: Bb–g’, 2nd bassoon Bb–g’. TRANSPOSITION: Fagottino in C: g minor, sounding octave in the same octave as soprano, or Tenoroon in G: g minor to c minor     

KIELING, Johann Cyriacus (1670–1727)

Wer Gott will dort ewig sehen – Symbolum Caroli V. Imperal Rom: Plus ultra, Festo Acens. Christi à cornua ô bassonetti 3 strom: 4 voc di kieling / MS from 1728, after Kieling’s death, Stollberg / Sacred (cantata). Göttingen, Niedersächsiche Staats- und Universitätsbibliothek, 8° Cod. Ms. philos. 84e: Kieling 16 (RISM ID no.: 453000427).

Music referenced in Jen Henrik Koudal and Michael Talbot, Stephan Kneckel’s Collection of Music and Musical Instruments: A Glimpse of Danish Musical Life in the Early Eigtheenth Century, Royal Musical Association Research Chronicle, No 43 2010, 45.

KUHNAU, Johann (1660–1722)

Gott sei mir gnädig nach deiner Güte à 9.  2 Violini. / 2 Viole. / Fagotto. / Soprano. / Alto. / Tenore. / Basso. / 4 Voci in ripieno. / con / Continuo a doppio. / del Sigr / Kuhnau / Dom. Quinquag. 1705. / Dom. Sexag. 1716. / Dom. Misericord. 1722 / Range: d–a’. Original Manuscript: Sammlung Fürsten- und Landesschule Grimma, MS Mus. 2133-E-507. 

The fagottino part notated as “Fagottino ó Viola da gamba 1^a.” is not mentioned on the title page and belongs to an unknown sonata interwoven with the cantata Gott sei mir gnädig nach deiner Güte.  Three performances are documented in the score.

Music mentioned by Klaus Hubmann, paper at symposium: “Forgotten relatives – small bassoons of the 18th and 19th centuries on stage again”, 24.02.2023, Basel.

MALZAT, Ignace (1757–1804)

Quartett in B für Violin, Viola, Violoncello und Fagott / Range: F–g’

Although written for bassoon, this quartet is very easily playable on a tenoroon in F. As in the Concerto Duetto in C for bassoon, oboe and orchestra, recommended by Klaus Hubmann, some details speak for the possible use of a tenoroon in F, such as the ideal register. A low F is written only once in bar 20 of the first movement Allegro molto, otherwise the whole quartet is written in a middle register which is very pleasant and normal range for a tenoroon. One would transpose from B-flat major to F major, a very comfortable key to play. The bass clef is read as tenor clef. In the second movement Adagio, which moves between the middle and high register with only a G as the lowest note, a tenoroon in F between the viola and the cello could produce the requested dolce found in bar 12 very well. In the last movement Tema con variazioni, which never goes lower than an A, a tenoroon would sound very virtuoso and agile.

Quartett in F für Violin, Viola, Violoncello und Fagott / Range: C–c”

Unlike the other Malzat Quartet in B-flat major, this quartet has a very wide range. The bassoon part is written from low C to high c”. Even if the first movement would be very well suited for a tenoroon in F due to the its register (it reaches the low F only once), as well as very good playability in the transposed key with well-placed virtuoso thirty-second runs, the usage of the whole range does not speak for the choice of a tenoroon in F. In the second movement, the bassoon part descends to a low D and jumps in the last 18 bars between high and low, often using notes that are not possible on the tenoroon. In the last movement, the high c” would strengthen the argument for a tenoroon, but in the Coda the part also descends to the low C, which is also unplayable. All in all, this quartet is not recommended for a tenoroon but we include it here in reference to Malzat’s quartet in Bb-major.

Concerto Duetto in C für Oboe, Fagott und Orchester / Solo / ob, bsn, orch 

Music suggested by Klaus Hubmann as played or composed for small-sized bassoon in “Hoch Gestimmte Fagotte (Tenorfagotte) in der Musik vom späten 16. bis zum späten 18. Jahrhundert”, in: Christian Ahrens, Gregor Klinke (ed.), Flöte, Oboe, Klarinette und Fagott: Holzblasinstrumente bis zum Ende des 18. Jahrhunderts (München–Salzburg: Katzbichler, 2011), 71–84.

MATTHESON, Johann (1681–1764)

Das Großte in dem Kleinen, Aria Ardito, Gott Vater “Wenn Satan und Hölle, wenn Sünde und Menchen” and Aria Jesus “Aus Liebe, Mitleid und Erbarmen / Pfingsten III 26th May 1722, Hamburg Dom / Sacred (oratorio) / ob (2), fagottini, bsns, vlns, vlas, vlcs, bc / Range:  f–d” / Scored for fagottino; two arias make use of obligato fagottini. Hamburg, Staats- und Universitätsbibliothek Carl von Ossietzky, Musiksammlung, ND VI 142, (RISM ID no.: 452500986).

Voss states that the fagottini in both arias are notated in alto clef in the manuscript. In the aria “Wenn Satan und Hölle, wenn Sünde und Menchen” (C minor), we see doubling of every string part: the violins with oboes, violas with fagottini (f–d”) and the cellos with the full-size bassoons. In the aria “Aus Liebe, Mitleid und Erbarmen”, one of the upper lines is notated “Violette und Fagottini unisono”, in alto clef and doubled by traverso an octave above. Voss mentions a similarity to the     instrumentation of Reinhard Keiser’s Desiderius, König der Langobarden (Hamburg 1709), which employs six double reed instruments to strengthen the string parts. Voss also states that Mattheson probably relied on the participation of the city’s oboists, to be able to have achieved such an instrumentation. Mattheson was the music director at the Dom in Hamburg from 1715 to 1728. 

Music suggested by Stefan Voss as played or composed for small-sized bassoon in “Die Verwendung der Holzblasinstrumente in Werken Hamburger Opernkomponisten der Barockzeit”, in: Christian Ahrens, Gregor Klinke (ed.), Flöte, Oboe, Klarinette und Fagott: Holzblasinstrumente bis zum Ende des 18. Jahrhunderts (München–Salzburg: Katzbichler, 2011), 94–95. 

MONSIGNY, Pierre-Alexandre (1729–1817)

Ros et Colas (Excerpts. Arr) in Eb major – Echo – Andante et Aria / Chamber (septet) / due Bassonetti, due Fagotti, due Corni et Contra Bassong (spelling of instrumentation as in MS).

MOZART, Wolfgang Amadeus (1756–1791)

Sonata for bassoon and violoncello in B flat major KV 196c (292) / 1775 /Chamber (duet) / bsn, vlc / Range: F–g’ / Scored for bassoon but suitable for tenoroon.

Music suggested by Klaus Hubmann and James Kopp as played or composed for small-sized bassoon in, Hubmann, Klaus: “Untersuchungen zur Authentizität der Mozartschen Fagottsonate KV 292 (196c) ” Oboe, Klarinette, Fagott, 5 (1990), 99–106; Klaus Hubmann, “Hoch Gestimmte Fagotte (Tenorfagotte) in der Musik vom späten 16. bis zum späten 18. Jahrhundert”, in: Christian Ahrens, Gregor Klinke (ed.), Flöte, Oboe, Klarinette und Fagott: Holzblasinstrumente bis zum Ende des 18. Jahrhunderts (München–Salzburg: Katzbichler, 2011), 71–84. James B. Kopp, The Bassoon, Yale University Press 2012, 225.

Quartet in F major, Quartetto pour Oboe, Clarinette, Fagotto Tenor, Fagotto Basso di Mozart / Chamber / ob, cl, t-fag, b-fag  / Scored for ‘Fagotto Tenor’

Music suggested by Klaus Hubmann as played or composed for small-sized bassoon in Hubmann, Klaus: “Untersuchungen zur Authentizität der Mozartschen Fagottsonate KV 292 (196c) ” Oboe, Klarinette, Fagott, 5 (1990), 99–106. See also notes in RISM: “Alle Stimmen und die Partitur tragen auf der ersten Manuskriptseite die alte Signatur und den Ovalstempel: “HOF CAPELLE | ZU | MEININGEN”. 
Auf der letzten Manuskriptseite jeweils der Stempel: “Staatliche Museen Meiningen | Inventar-Nr. [handschriftlich:] XI-2 100 [bis: 104]/V NHs 275/1 [bis: 5]”. Die Stimmen ob, cl und b-fag stammen von der Hand der Partiturschreibers, t-fag von anderer, unbekannter Hand.” 

In the score, “Fagotto Tenor” and “Fagotto Basso” are indicated; in the parts, “Fagotto” (+ in pencil “1.”) and “Fagotto Basso”. The first part remains consistently in the high tenor register, ascending frequently in a’ , as well as b-flat’. The part is not transposed, but could easily be played on a tenoroon, as it lies unusually high for a full-sized instrument.

PEREZ, Davide (1711–78)

 L’Isola disabitata, “Aria Constanza” / 1748, Palermo / Opera / Range:  g–d”. Scored for bassoon but suitable for fagottino. 

The instrumentation seen at the beginning of the score has the bassoons listed as continuo instruments together with violoncelli and bassi. Later, in the first act, and then further throughout the score, the bassoons join with the “violette” (viola) in a single system. The voice that the bassoons take over is very high throughout, and consists of long, high notes held over several bars in unison with the viola. With a full-sized bassoon, this would be challenging to achieve the required lightness, agility and dynamic differences in this register in unison with the viola. It would be possible to play everything an octave lower, but this would add a certain heaviness which would disturb the upper voice and often produce inverted chords. It is more conceivable to play this part on the fagottino, i.e. without transposing, sounding an octave higher than the bassoon. This would solve the technical issues and produce a very special timbre which would probably be very suitable in combination with the viola. During the course of the work, the bassoon part also constantly jumps between the bass line with all bass instruments, and the viola part, so that changing instruments would not always be possible for practical reasons. From measure 59 on, it is again expressly desired in the score that bassoons should play with violins. In measure 63, fast semiquaver-runs up to the high d” are notated together with viola; this bar is very difficult to play on the bassoon, whereas it could easily be done with a fagottino.

At beginning of Act I, a separate bassoon line is written from the violas in a different octave (indicating the particular octave wanted). Act I, d” (p 254): improbable for full-size instrument and more suitable for fagottino. Also: Aria Constanza (p 44–47), Fagotti con le viole, (p 26) fagotti con le viole; (p 67– 95) Aria Constanza ‘Se non piange’, Fagotti con le viole; (p 216–220) Fagotti con le viole; (p 252–257) Fagotti con le viole. 

See comments by Giovanni Battista Graziadio: “The range: a case study in Neapolitan repertoire” on this site.

Solimano / 1755, 1st performance 31 Mar. 1758, Lisbon, Teatro de la Ajuda/ Opera / Range: f–d”/ Scored for bassoon but suitable for fagottino. 

ACT I: (p 144 –157) Fagotti con le viole g–d’’. / ACT II: (p 193–196) Fagotti con le viole; (p 196) ‘fagotti al basso’.  / ACT III: (p.43–47) Fagotti e viole; (57–60) Fagotti e viole; (p 99–101) Fagotto: violoncello (doubling violas).

In this opera by Perez, as in L Isola disabitata, the bassoon part is notated together with the violas (Fagotti con le Viole) in alto clef throughout the opera, which is very striking. It can be assumed that the alto clef also stands for a musical role that is exceptional for the bassoon, that of the singing, middle concertino voice. The range of the bassoon here extends into the very high register up to high d” and often during fast passages of sixteenths, for example on page 150, a fagottino would be the optimal choice. The very unusual musical role played by a fagottino would also create an extraordinary sound, blending nicely with the violas in the high register.

See comments by Giovanni Battista Graziadio: “The range: a case study in Neapolitan repertoire” on this site.

PELLEGRINI, Angelo (1805– ?)

Messa in G minor (Gloria) Qui tollis, Adagio Sostenuto / first half of 19th century / sacred / vl I, vl II, vla, fl I, fl II, cl I-II, cor I-II, tr I-II, fag I-II, trb I-II, “fagottino”, trb III, timp, T “solo”. S, T, B, vlc, b

from RISM MS in Biblioteca comunale di Treviso, Venezia, Fondazione Levi, 2000, Ms 1636.

PORPORA, Nicola Antonio (1686–1768)

Siface, Atto Secondo (scena decima), Atto terzo (scena prima) / 1730, Rome [There are two versions existing of Siface in multiple copies, dating back to 1725 and 1730. For the arias that concerning the fagottino, these two versions are identical.] / fagottini (2) / Range:  a–f” / Scored for fagottino in parts. Partial autograoh, Brussels, Conservatoire royal de Bruxelles, Bibliothèque, 2298 (RISM ID no.: 700000221 – aria Act II / 701001643) – aria Act III).

Expressly requested in the 1st scene of Act 3 (in the score “fagottini”) after a long recitative, the air begins with the two fagottini alone. The fagottini parts alternate between solo and accompaniment parts in which they join the bass. Fagottino 1 arrives at  f “.  In Act  II., Scene 10,  the words “Fagotto P.mo con la Viola” appear in the score. In this aria, the fagotto plays in unison with the viola, reaching the high c”. This is a slow, cantabile air in which the 1st fagotto softly accompanies the voice. It is plausible to deduce that the bassoonist used the same instrument requested in the following act, due to range and dynamic marking considerations.

See comments by Giovanni Battista Graziadio: “The range: a case study in Neapolitan repertoire” on this site.

RASETTI, Amedée (1759–99)

Three Trios Op.13 Nr.1 / 1799 / Chamber (Trio) / fl, bsn, pno / Range: C–d”

The three trios op. 13 mentioned here are compositions for piano, flute and bassoon, composed in the last year of Rasetti’s life. They proved to be his most successful works. The first, Op 13, has the widest range, going from low C to high d”. Even though the bassoon often moves into the low register, it is always used to amplify the left hand of the piano, which retains the bass function throughout. Apart from a few sporadic low Cs in the first movement “Allegro molto” and in the last movement “Finale” which can be played an octave higher, the bassoon voice remains in the middle register. The first trio could be played with a tenoroon in F. TRANSPOSITION: F major to C major. This allows a very light and vocal arrangement of all solos in the high register, for example in the first movement “Allegro molto” bars 42–55. A tenoroon would also fit very well in “Andantino”. This movement begins with a bassoon solo in the middle register, labeled “Il canto d’amore”, a clear request for a remarkably soft and lovely sound that would fit very well with this small instrument.

RITTER, Georg Wenzel  (1748–1808)                       

Bassoon Quartet Op.1 / Chamber (Quartet)        

Music suggested by Klaus Hubmann as played or composed for small-sized bassoon in “Hoch Gestimmte Fagotte (Tenorfagotte) in der Musik vom späten 16. bis zum späten 18. Jahrhundert”, in: Christian Ahrens, Gregor Klinke (ed.), Flöte, Oboe, Klarinette und Fagott: Holzblasinstrumente bis zum Ende des 18. Jahrhunderts   (München–Salzburg: Katzbichler, 2011), 71–84.

ROSSI, Isidoro (1815–84)

Trio for three bassoons / Post 1868, Milan, dedicated to Sig. Prof. Cav, Antonio Torrinani (1829–1911) / Chamber (Trio) / bsn (3)  Range:  I. c–c”; 2. a–g’; 3. C–f ‘  Post 1868, Milan, Ms, Biblioteca del Conservatorio di musica “Giuseppe Verde, Sig. A.35.49.4.

“Trio scored for three bassoons in F major, in four movements. The constant high register writing, combined with tempi and technical aspects mentioned below, make it advisable to play the 1st voice on a tenoroon in F:

I. Allegro moderato.  From bar 15, always in tenor clef, with c’’ appearing eight times in dotted staccato rhythms with large leaps in bar 28. In bars 88–100, a series of large leaps, expressively slurred, up to bb’ and c’’, as well as staccato passages. 

II. Andante cantabile: Lowest tone e, highest bb’, whole movement written in tenor clef.  

III. Minuetto Brilliante: Bars 52, 53 high staccato eighth notes, circling around c’’. 

IV. Finale Allegro Brilliante: Series of quick leaps up to c’’ in bars 143–45, written in a piano dynamic.

The 2nd and 3rd parts are clearly for full-size instruments, while a smaller-size bassoon is suitable for the 1st voice, resulting in a lighter, more brilliant and virtuosic effect, than that with a full-size instrument. TRANSPOSITION:  (1st voice)  Tenoroon in F:  F major to C major.

Consulted edition: Helge Bartholomäus, Friedrich Hoffmeister Musikverlag, 1997, Original Manuscript: Biblioteca del Conservatorio di musica “Giuseppe Verdi”, Milan, Signatur A.35.49.4 Milan, dedictated to Sig. Prof. Cav, Antonio Torrinani (1829–1911). Torriani studied in 1842 Milan Conservatory and became 1st bassoon of La Scala in 1864– 93; he was professor at the Milan Conservatory from 1868–1908.

ROUSSEAU, Jean-Jacques (1712–1778)

Recueil de chansons, avec Accompagnemens de deux Violons, Basson ou Quinte, et Basse-Continue / (Six chansons) / Voice, strings, bsn or quinte, bc 

From RISM: [S.l.], [s.n.], 18th century
1. L’amour m’a fait la peinture / 2. Ecoutez l’histoire du beau Misis / 3. L’a- mour est un chien de vaurien / 4. L’amant frivole et volage / 5. Quoi, vous partez / 6. Que chacun de nous se livre Former owner: P. L. Ginguené. See: The Harmonicon, Vol V, 1827, 177.

SCHAFFRATH, Christoph (1709–63)

Christoph Schaffrath was a well-known harpsichordist, who took up the appointment of harpsichordist and chamber musician to the Princess Amalie von Preußen, following Carl Philipp Emanuel Bach. He wrote mainly works for harpsichord and chamber music in which the harpsichord had a leading roll.

Duet for bassoon and concertante harpsichord in f minor / Chamber / bsn, harpsichord                    

In this sonata, as well as in the Sonata in g minor for bassoon and obbligato harpsichord, the bassoon part moves continuously and almost exclusively in the middle register of the instrument. In the third movement of the sonata “Allegro” the bassoon reaches a low C only twice in bars 16 and 61. The low C, which is of course unplayable on the tenoroon, has only a harmonic function here, however, and would be very well playable one octave higher. The sonata is recommended for a tenoroon in F mainly because of its range, but also due to its ease of playability. TRANSPOSITION: F minor to C minor, bass clef is read instead of tenor clef to achieve the required transposition. As in the Sonata in g minor, the harpsichord here has the bass line function, but as the title suggests the harpsichord and bassoon perform a real duet, which could be further enhanced by the unusual sound colour of the tenoroon. 

Music suggested by Klaus Hubmann as played or composed for small-sized bassoon in “Hoch Gestimmte Fagotte (Tenorfagotte) in der Musik vom späten 16. bis zum späten 18. Jahrhundert”, in: Christian Ahrens, Gregor Klinke (ed.), Flöte, Oboe, Klarinette und Fagott: Holzblasinstrumente bis zum Ende des 18. Jahrhunderts (München–Salzburg: Katzbichler, 2011), 71–84.

Duet for bassoon and concertante harpsichord in g minor / Chamber / bsn, harpsichord                    

The title of this sonata “Duetto a Cembalo Obligato e Bassono” (as written in the German State Library Berlin Autographs) is in itself an explanation for the musical role the two instruments play. The harpsichord always has the bass function but is also in constant concertante exchange with the bassoon. The range in which the entire bassoon part moves is very unusual for such a bass instrument. The bassoon part remains in the middle register and only goes exceptionally lower than G, in the third movement  Allegro in bars 88, 100, and 102. This duet, although scored for bassoon, could be played very well on a tenoroon in F. 

TRANSPOSITION: from G minor to D minor, reading the bass clef as tenor clef to achieve the required transposition. Both the range and the key are well suited for a tenoroon in F.

Music suggested by Klaus Hubmann as played or composed for small-sized bassoon in “Hoch Gestimmte Fagotte (Tenorfagotte) in der Musik vom späten 16. bis zum späten 18. Jahrhundert”, in: Christian Ahrens, Gregor Klinke (ed.), Flöte, Oboe, Klarinette und Fagott: Holzblasinstrumente bis zum Ende des 18. Jahrhunderts (München–Salzburg: Katzbichler, 2011), 71–84.

STAMITZ, Karl (1745–1801)

Bassoon Quartet Op. 19/5 / Chamber / bsn, vl, vla, vlc   

Music suggested by Klaus Hubmann as played or composed for small-sized bassoon in “Hoch Gestimmte Fagotte (Tenorfagotte) in der Musik vom späten 16. bis zum späten 18. Jahrhundert”, in: Christian Ahrens, Gregor Klinke (ed.), Flöte, Oboe, Klarinette und Fagott: Holzblasinstrumente bis zum Ende des 18. Jahrhunderts (München–Salzburg: Katzbichler, 2011), 71–84.

TELEMANN, Georg Philipp (1681–1767)

Abscheuliche Tiefe des grossen Verderbens for Flute, Violetta o Fagotto, Voice and Continuo TWV1:1, ‘Sonntag nach Weihnacht’ / 1731/32, Hamburg / Sacred (cantata) / fl, vla or bsn, bc / Range: g–e”. Scored for ‘fagotto’ in d minor. Suitable for fagottino.  Cantata on Sunday after Christmas, from: Fortsetzung des Harmonischen Gottesdienstes oder geistliche Kantaten […], Hamburg: author [1731], strumento primo part, p. 56, D-Hs M C/349: St; digitized.

Three movements: 1. Moderato, 2. Recitative, 3. Allegro Assai – Moderato. The highest note, e” – appears in bar 44 of the middle section of movement 3, as a virtuosic leap within a delicate section, before the return of the Allegro assai. There are many places in this cantata where the bassoon part (if played on a full-size instrument, an octave lower than notated) would cross the bass line and decend more than an octave lower than it (example: bars 6, 34 of Allegro Assai). In the moderato section of the Allegro Assai, the fagotto part presents sustained notes in bar 37, which should float in the texture as does the traverso, something which would be lost playing an octave lower on the full-size bassoon. Performed on fagottino, the part can be played at the written pitch, filling in the range between the traverso and bass. TRANSPOSITION:  ‘Violetta o fagotto’ is written in alto clef; to play on fagottino, one tone lower than written, as if reading bass clef fingerings (but sounding an octave higher). d minor: d minor

Ach ewiges Wort, in Herz und Munde, TWV 1:9 / 1731 / Sacred (cantata) 

Der neumodische Liebhaber Damon TWV 21:8 / 1719/1724 Leipzig/Hamburg / Opera / SSATB, ob (2), bns (3), hrn (2) 3 trps (3), strings, bc      

Telemann refers to both ‘bassone’ and ‘fagotto’ in the opera. Fagotto is mentioned in unison with violins, third part, Aria no.12, p. 219. In the second part no.18, he writes ‘Bassone e viola 1, Bassone e Viola 2’.

Act II: No.18 Arie Ergasto, “Ich will hinfort mir selbst gelassen” (p 158, ‘Bassone e Viola 1, Bassone e Viola 2’ system notated in bass clef).  / ACT III: No.12 Arie Hippo, “Einen Prahler siehet man itzt für einen Eisenfresser” (p 219, ‘Fagotti e Viol. All’ unisoni’ notated in one system in bass clef ) / ACT III, No.25 “An vielen Schönen sich ergötzen” (Damon) (Score order Viol.I – Viol.II – Va. – Bassono I – Bassono II – Damon – Bass conti.)

Music mentioned by Stefan Voss with movements for more than one obbligato bassoon in “Die Verwendung der Holzblasinstrumente in Werken Hamburger Opernkomponisten der Barockzeit”, in: Christian Ahrens, Gregor Klinke (ed.), Flöte, Oboe, Klarinette und Fagott: Holzblasinstrumente bis zum Ende des 18. Jahrhunderts (München–Salzburg: Katzbichler, 2011), 94–95.

Concerto / chamber / oboe d’amore (2), fagottini (2), bc

Music referenced in Michael C. Finkelman, The lower oboes, a treatise on their history and literature, I. The hundred years of music for the lower oboes, 1660s-1960s: a bibliography/ discography, Boston: Michael Craig Finkelman 2020, 52.

Flavius Bertaridus, König der Langobarden TWV 21:27 / 1729, Hamburg /  Opera         

Music mentioned by Stefan Voss with movements for more than one obbligato bassoon in “Die Verwendung der Holzblasinstrumente in Werken Hamburger Opernkomponisten der Barockzeit”, in: Christian Ahrens, Gregor Klinke (ed.), Flöte, Oboe, Klarinette und Fagott: Holzblasinstrumente bis zum Ende des 18. Jahrhunderts (München–Salzburg: Katzbichler, 2011), 94–95.

Kommt verruchte Sodoms-Knechte TWV 1:1014 / Sacred / S, bsn (4), bc  

Aria “Dein ängstliches Klagen”. Axel Fischer, The Archive of the Sing-Akademie Berlin Catalogue SA581 ZC688e    

Mit Gott im Gnadenbunde Mit Gott im Gnadenbunde stehn, TWV 1:1141 for / Sacred (cantata) / SATB,  2 Cornes de Chasse con Sordino, 2 Hautbois, 2 Chalumeaus ou Bassonetti, | 2 Violini. Viola. Canto et Basso. con Continuo. Range: g–f’’. Score in G major for all parts excepting basso continuo and basso, which are notated in E major. Berlin, Sing-Akademie zu Berlin, Notenarchiv, SA657, (RISM ID no.: 469065700).

Two bassonetti play in tutti sections with other winds. After arias for both bass and soprano, the final duet brings the two voices together in, “Läutet nur die Sterbeglocken, trage mich den Kirchhof zu, den ich seufze nach der Ruhe.” The sound of the “Sterbeglocken” (death bells) is depicted in the accompanying orchestral parts, in which the fagottini play the most active and exposed role.  

Nouvelle Sonatinas, Sonatas 2 and 5 / Solo bsn, bc / Range: g’–e”’    

Scored for bassoon but suitable for fagottino. The second and fifth of this set of six sonatas are scored for Flauto dolce, ò Fagotto, ò Violinc. The only surviving bass part for these two sonatas is from the version for violin and bass. Played on a full-size bassoon, the solo part often crosses the bass part. Played on a fagottino, it is in the same range as violin, and therefore the solo part would not cross below the bass line. TRANSPOSTION: Unlike the other sonatas, sonatas 2 and 5 are scored in French violin clef (g’ on the first line of stave) allowing for transposition by reading as if in bass clef. Played on a fagottino, the range would be only one octave lower than the written g’ – e”’ range; g – e”, instead of two octaves lower on full-size bassoon.

Sonata. TWV 42:B7 Ex. B: Major. A.3. / Voci: Oboe: Fagotto. Obligato. Basso. Cembalo /  Chamber / ob, bsn, bass, harpsichord / Scored for ‘fagotto’. Suitable for tenoroon in G.

This sonata is written for bassoon, but is also very well-suited for a tenoroon in F. In the entire sonata, G is reached only once in bar 26 of the first movement, Allegro, otherwise the whole piece remains in the middle register of the bassoon and never goes lower than b flat, which is very unusual for a bassoon part. The low register of the instrument is not used at all. The bass function in this sonata is therefore left to the harpsichord, and the bassoon takes on the middle voice between the oboe and harpsichord. Both the range and the musical function can therefore be taken over very well by a tenoroon in F. TRANSPOSITION: B flat major to F major. The bass clef would be read as tenor clef and transposed a fourth lower. The assumption that the sonata is also playable on a tenoroon in F is supported by the ease of playing in F major, in a perfect range, and fulfilling the harmonic function as a middle voice.

Music suggested by Klaus Hubmann as played or composed for small-sized bassoon in “Hoch Gestimmte Fagotte (Tenorfagotte) in der Musik vom späten 16. bis zum späten 18. Jahrhundert”, in: Christian Ahrens, Gregor Klinke (ed.), Flöte, Oboe, Klarinette und Fagott: Holzblasinstrumente bis zum Ende des 18. Jahrhunderts (München–Salzburg: Katzbichler, 2011), 71–84. Hubmann suggests a ‘Hochquartfagott (tenoroon in F), because the bassoon part only reaches G once, but otherwise concentrates on the range above B.

THEUSS, Karl Theodor (1785–?)

Sonata (1820) for six bassoons / 1820?, Germany / Chamber / bsn (6)   

Music suggested by Bodo Koenigsbeck as played or composed for small-sized bassoon in Bodo Koenigsbeck, “reference number T263”, in Bassoon Bibliography, Monteux: Musica Rara, 1994, 427. Not located.

TRIEBENSEE JOSEF (1772–1846)

Septet / ca. 1813 / Vienna / Chamber / ob, Eng. horn cl, bassethorn, fagottino, bsn, hn 

Evidence of first performance in Vienna on 25 March1813 directed by the composer from the oboe, and Philipp Teimer on english horn. This music is probably lost.

Music referenced in Michael C. Finkelman, The lower oboes, a treatise on their history and literature, I. The hundred years of music for the lower oboes, 1660s-1960s: a bibliography/ discography, Boston: Michael Craig Finkelman 2020, 386.

WIDERHOFER, Joseph (1756–1857)

Miserere S.D.N.J. Ch in A flat / 1827 / Sacred / for SATB, Violino Primo, Violino Secundo / Viola / Cornu Primo, Cornu Secundo in Es, Fagotto Tenore, Fagotto Basso, Trombone Alto, Trombone Tenor / Trombone Basso / Organo & Violone.

Autograph: Mariazell, Ms. 236

ZACHOV [ZACHOW], Friedrich Wilhelm (1663–1712)

Osterkantate No X, Dies ist der Tag / possibly 1700, Halle / Sacred (cantata) / vl (2), vla, fagottini (bassonetti) (2), hrn (2), SATB, bc / Range: d’–c”’ or  d–c”. Brussels, Conservatoire royal de musique, 1008 (RISM ID no.: 706001182).

Scored for ‘bassonetti’, which are most likely fagottini. Bassonetti are scored in treble clef in Kammerton in F major, strings in Chorton in D major. Eleven movements, five in which the bassonetti are scored, often in obligato functions. Brussels, Conservatoire royal de musique, 1006 1008 (RISM ID no.: 706001182).

Music referenced in: Hubmann, Klaus, “Hoch Gestimmte Fagotte (Tenorfagotte) in der Musik vom späten 16. bis zum späten 18. Jahrhundert”, in: Christian Ahrens, Gregor Klinke (ed.), Flöte, Oboe, Klarinette und Fagott: Holzblasinstrumente bis zum Ende des 18. Jahrhunderts (München–Salzburg: Katzbichler, 2011), 71–84. Lyndesay G. Langwill, The bassoon and contrabassoon, Montreaux: Ernest Benn 1965, 110, James B. Kopp, The Bassoon, Yale: Yale University Press 2012, 224.