By James B. Kopp
This welcome quantity encompasses the whole background of the bassoon, from its origins 5 centuries in the past to its position in twenty-first-century tune. James Kopp attracts on new archival examine and lots of years’ event taking part in the device to supply an updated and full of life portrait of today’s bassoon and its interesting predecessors. He discusses the bassoon’s makers, its gamers, its repertory, its myths, and its audiences, all in exceptional detail.
The bassoon was once invented in Italy in keeping with the necessity for a bass-register double-reed woodwind compatible for processionals and marching. Composers have been fast to use its agility and distinct timbre. Later, throughout the reign of Louis XIV, the tool underwent an immense redecorate, giving voice to its tenor sign up. within the early 1800s new clinical precepts propelled a wave of invention and layout alterations. within the 20th century, the multiplicity of competing bassoon designs narrowed to a German (or Heckel) kind and a French variety, the latter now approximately extinct. the writer examines the acoustical results of those quite a few redesigns. He additionally deals new insurance of the bassoon’s social historical past, together with its roles within the army and church and its worldwide use in the course of the eu Colonial interval. Separate ancient chapters dedicated to contrabassoons and smaller bassoons whole the quantity.
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Additional info for The Bassoon
87 One of the earliest functions of the bajón corista, of course, was to support the singing of Gregorian chant. Singers and the bajonista read from a single large chant book, a practice called facistol. Even after polyphonic sections were added to the liturgy, they were sometimes interspersed with sections of chant. indd 32 07/05/12 1:29 PM The dulcian family accompanied a vocal soloist in half-verses, lending pitch stability until the organ and choir joined in each remaining half-verse.
87 One of the earliest functions of the bajón corista, of course, was to support the singing of Gregorian chant. Singers and the bajonista read from a single large chant book, a practice called facistol. Even after polyphonic sections were added to the liturgy, they were sometimes interspersed with sections of chant. indd 32 07/05/12 1:29 PM The dulcian family accompanied a vocal soloist in half-verses, lending pitch stability until the organ and choir joined in each remaining half-verse. Among the earliest datable scorings to specify bajón are works by (Juan) Ginés Peréz de la Parra (1548–1600; choirmaster at the cathedrals of Orihuela and Valencia) and Alonso Lobo (1555–1617; maestro de capilla at the cathedrals of Toledo and Seville).
11 The keys of bajones are typically mounted on bands that girdle the instrument’s exterior, rather than in saddles. 12 This is discussed below. 13 For smaller sizes, however, the player’s hands supported the instrument, possibly unassisted. . only a few can do this. 15 Sizes and consort use ‘Corista’ in Italian means ‘tuning pitch’; one of the dulcian’s functions was to support a singer or chorus in Gregorian chant, lending both volume and a stable tuning. The bass size of dulcian came to be called the fagotto corista, Choristfagott, or bajón corista.