Suggested repertoire list

Note: This list is being regularly updated and revised; titles of works still under review/evaluation are also included. 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.
[Spreadsheet data will additionally be made available soon, with a link to Zenodo for downloading purposes.]

Composer Number of Works
ANFOSSI, Bonifacio Domenico Pasquale (1727–97)1
BEETHOVEN, Ludwig van (1770–1827)1
CIMAROSA, Domenico (1749-1801)1
COBALEDA, Alonso de (1683 – 1731)1
CZEYKA, Valentin (1769–1834)1
DARD, Antoine (1715–84)1
DAUVERGNE, Antoine (1713–97)1
DIETER, Christian Ludwig (1757–1822)1
DÜRNIZ, Thaddäus Freiherr von (1756–1807)3
FISCHER, Johann Kaspar Ferdinand
FROST, Johann Georg Michael (Johann Kaspar Trost?)1
GRAUPNER, Christoph (1683 – 1760)1
HANDEL, George Friederic (1685–1759)1
HAYDN, Joseph (1732–1809)1
HILL, Uri Keeler (1785–1884)1
KEISER, Reinhard (1674–1739)1
MALZAT, Ignace (1757–1804)3
MATTHESON, Johann (1681–1764)1
MOZART, Wolfgang Amadeus (1756–1791)2
PEREZ, Davide (1711–78)2
PORPORA, Nicola Antonio (1686–1768)1
RAMEAU, Jean-Philippe (1683–1764)several
RITTER, Georg Wenzel (1748-1808)1
ROSSI, Isidoro (1815–84)1
ROUSSEAU, Jean-Jacques (1712-1778)1
SCHAFFRATH, Christoph (1709–63)2
STAMITZ, Karl (1745–1801)1
TELEMANN, Georg Philipp (1681–1767)7
THEUSS, Karl Theodor (1785–?)1
ZACHOV [ZACHOW], Friedrich Wilhelm (1663–1712)1

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 the 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 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.

The Adagio opens with the theme in the bassoon line accompanied by the pianoforte, in a written dynamic of “piano”. On the full-sized bassoon, the ornament in the theme is very 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, reading tenor clef 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 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, hpd

Zamora, 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 to play as bassoonist in the Theater an der Wien. He was the bassoonist for which Beethoven wrote many of the solos in his Symphonies. He went on to be Militärkapellmeister in Naples in 1821.

Czejka performed his own variations for “Tenorfagott” on two occasions, firstly on the 21st March 1815 for the benefit concert of the Armen fund of the Kärntnertor theatre and on the 22nd 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, “Hochgestimmte 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, this is the only one that 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 and remains 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 can be read as bass clef, taking away one sharp in 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 very easy to transpose 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 can be 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 with 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 – bb` / 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 this 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
“Hochgestimmte 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
“Hochgestimmte 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.

Music suggested played or composed for small-sized bassoon by Hubmann and Kopp in:
Hubmann, Klaus, “Hochgestimmte 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

Music suggested by Klaus Hubmann and James Kopp as played or composed for small-sized bassoon in Klaus Hubmann “Hochgestimmte 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

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
“Hochgestimmte 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?)

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 Headlund, “Ensemble Music for Small Bassoons”, in: Galpin Society Journal 11 (1958) 78–84, Klaus Hubmann “Hochgestimmte 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 –226, Lyndesay G. Langwil, The bassoon and contrabassoon, Karl Ventzke, “Ensemble Music for Small Bassoons”, in Galpin Society Journal 30 (1977), 151–153.

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 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]

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 is 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 can be 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: bb– bb” / 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 – Bb – 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. Langwil, The bassoon and contrabassoon, London: Ernest Benn, 1965, 111. Klaus Hubmann “Hochgestimmte 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          

KEISER, Reinhard (1674–1739)

Brockes Passion / 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. 

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 as playable on a tenoroon, some details speak for the possible use of a tenoroon in F. The register is absolutely ideal for a tenoroon. 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 would simply be 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. And 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
“Hochgestimmte 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 Größte in dem Kleinen, Aria Ardito, Gott Vater “Wenn Satan und Hölle, wenn Sünde und Menchen” and Aria Jesus “Aus Liebe, Mitleid und Erbarmen / 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.

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

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 also 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, “Hochgestimmte 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.

Quartets 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.”

PEREZ, Davide (1711–78)

 L’Isola disabitata, “Aria Constanza” / 1748 / 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 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 / 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.

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.

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.

RAMEAU, Jean-Philippe (1683–1764)

Note: Multiple entries by Rameau are being examined and will soon be available.

RITTER, Georg Wenzel

Bassoon Quartet Op.1 / Chamber (Quartet)                               

Music suggested by Klaus Hubmann as played or composed for small-sized bassoon in “Hochgestimmte 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 ‘ 

“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 possible 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 became 1st bassoon of Scala in 1864 – 1893, he was professor in milan 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, p. 177.

SCHAFFRATH, Christoph (1709–63)

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

Music suggested by Klaus Hubmann as played or composed for small-sized bassoon in “Hochgestimmte 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.

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.

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

Music suggested by Klaus Hubmann as played or composed for small-sized bassoon in “Hochgestimmte 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.

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. 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.

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 “Hochgestimmte 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.

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

Music suggested by Klaus Hubmann as played or composed for small-sized bassoon in “Hochgestimmte 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.

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.

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

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

Treble clef instrument, alto clef instrument appears just before “Abscheuliche tiefe…”

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

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

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 “Hochgestimmte 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.

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.

THEUSS, Karl Theodor (1785–?)

Sonata (1820) for six bassoon / 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.

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 ”

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.

Music referenced in: Hubmann, Klaus, “Hochgestimmte 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. Langwil, The bassoon and contrabassoon, Montreaux: Ernest Benn 1965, 110, James B. Kopp, The Bassoon, Yale: Yale University Press 2012, 224

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