Germany

Evidence of the German school of bassoon pedagogy began with Joseph Frölich
(1794-1832). Frölich published three bassoon tutors: Fully Standard theoretical and
practical school for bassoon (1811), Bassoon School according to the principles of
the best about this instrument published writings (1815), and Systematic teaching
in the most exquisite orchestra instrumentation (1829). Although no solo works
exist to date, there is anecdotal evidence suggesting he also wrote solo literature
for the instrument. Frölich’s tutor included exercises for mastering the modified
bassoon using musical excerpts from standard repertoire.
Frölich’s Standard theoretical and practical school for bassoon (1811) borrowed
significantly from his French contemporary Etienne Ozi. In the reed portion of
Frölich’s tutor, Frölich almost directly copies the instructions of Ozi. He was the
first to translate Ozi’s bassoon methodology into the German language. The few
differences added to Ozi’s instructions included detailed visual cues, measurement
tables for reed dimensions, and diagrams of each step of the reed making and
finishing process. The specificity of the process demonstrated the importance of
making reeds earlier in a student's study of the bassoon. Frölich’s tutor, the first
known bassoon method of study in the German language, brought Ozi’s method
and French concepts to the German school of bassoon playing. While the French
and Germans used similar bassoons during the nineteenth-century, the slight
differences in Frölich’s method provide evidence of separation of French and
German schools of bassoon pedagogy.
German bassoonist, teacher, and inventor Carl Almenräder (1786-1843) was the
first German teacher to add to Frölich’s tutors. Almenräder was brought up in a
musical household in Ronsdorf, Germany and studied composition and theory
before he directed his attention to the bassoon. In 1801, he became the bassoon
teacher at the new Cologne School, a prominent institution for studying music.
While teaching, he played with the orchestra of the Frankfurt am Main Theater
(1812-14).
He wrote two bassoon tutors: The Art of Bassoon-playing (1824) and Bassoon
School (1843). Almenräder built on Frölich’s German tutor, and published
Bassoon School in French and German. He updated the fingering chart to
accommodate the 17-keyed instrument, included instructions on reed maintenance,
and composed exercises based on literature of the period There is no anecdotal
evidence that suggests Almenräder copied Frölich’s etudes.
Almenräder’s contributions to the repertoire included: Pot-pourri, Op. 3 (1824),
Concerto in C Major, Concerto in B-flat Major, Concerto in E-flat Major, Concerto
in D Major, Concerto in a minor and Concerto in F Major. Along with these solo
compositions, Almenräder composed duets for two bassoons, including: 2 Duos
op. 10 (1834) and Duos Op.10 (Date Unknown). Almenräder’s technical and
artistic mastery are seen in his duos. The music is highly detailed, harmonically
complex, and balanced. For example, in 2 Duos op. 10 (1834), he writes out
melodic material for both bassoonists that are technically demanding. The parts
require clean staccato and slurred articulations, rhythmic accuracy, and precise
trills/ornamentations.
Throughout Almenräder’s tutors, he applied fundamental musical concepts to solo
and duet exercises that connected to his solo repertoire, orchestral music, and
chamber music of the time. He not only played the instrument well, but he was an
accomplished instrument maker. While working in Mainz in 1816, Almenräder
met acoustician and theorist Gottfried Weber, who published articles on woodwind
acoustics. Through his friendship with Weber, Almenräder was inspired to make
fundamental changes to the bassoon. In 1817, he experimented in the instrument
factory of B. Schöts Sohne and published Traité sur le perfectionnement du basson
avec deux tableaux (1819-20) in French and German in 1819. This treaty described
his first set of modifications to the 15-keyed bassoon. In 1829, Almenräder met
Heckel at Schöts’ factory41. In 1831, Heckel and Almenräder entered a partnership
and established the Heckel business in Biebrich, Germany. At the Heckel
workshop, Almenräder and Heckel implemented structural modifications to the
bassoon that resulted in a 17-keyed instrument Tone holes from A below were
enlarged and shifted toward the bell to improve pitch. To improve the resonance
and pitch of B2, an open key was added to the long joint. In addition to the tone
holes and open key, a second vent hole, metal U-bend, and stuffed pads were
added to the instrument. The size of the bore increased and extended the range four
octaves (Bflat2 to Bflat4). The mechanisms helped improved intonation, evenness,
and projection of the instrument. Heckel’s workshop continued to improve the
instrument throughout the nineteenth-century and created the Heckelfagott, which
became the standard German model bassoon.
Following Almenräder, bassoonist Christian Julius Weissenborn (1837-1888)
compiled the world’s most used bassoon tutor. Born 13 April 1837 in Friedreichs-
Tanneck near Eisenberg, Germany, Weissenborn completed bassoon studies on his
own and became an active bassoonist in Leipzig, Germany. He served as principal
bassoon of the Gewandhaus Orchestra (1857-87) and at the Conservatorium (1882-
88). In addition to his orchestra job, he was the first bassoon teacher to be hired at
the Leipzig Conservatory. He served at the conservatory until his death in 1888.
He was known as an excellent teacher of bassoon and performer, which led to three
comprehensive methods: Practical Bassoon School (1887), Studies for Beginners
(1887), and Studies for Advanced Players (1887). His Practical Bassoon School
(1887), first published in 1885, went through many edits before the final 1887
edition. The final 1887 edition was written for the 17-keyed bassoon modified by
Almenräder and Heckel. Due to Weissenborn’s active career as a teacher and
performer, the material presented in Practical Bassoon School (1887) connect to
contemporary literature of the nineteenth-century. For example, the utilization of
fast passages in D major in etude 27 focused on the half holing technique moving
between F sharp 3, C sharp 3, and D3, which is emphasized in various orchestral
and chamber music (e.g. the works of Mozart, Haydn, Beethoven, Berlioz,
Brahms, and Wagner). Each etude, article, embellishment guide, fingering chart,
and duet exercise in Weissenborn’s method focused on fundamentals applied in
performance.
Weissenborn composed a number of solo works for the bassoon. These include: 4
Sonatas for solo bassoon (Date unknown), Romance, Op. 3 (Date unknown), 6
Lecture pieces, Op. 9 (1888), 3 Lecture Pieces, Op. 10 (1888) and Capriccio, Op.
14(Date unknown). Weissenborn did an excellent job making musical connections
between his etudes, solo repertoire, and current literature of the time. His
composed works combined elements from his bassoon tutors into musical
exercises that allowed for students to make musical decisions while working on
important fundamental skills (i.e. half-holing, voicing between the registers, full
staccato articulations, and tuning with piano). For example, in Capriccio, Op. 14,
Weissenborn did not leave specific musical instructions for the bassoonist. Instead,
he implies distinct musical styles in each section. He writes a playful character in
the beginning, then shifts to an elegant waltz in a new tonality, then comes back to
the original theme/character. While he does not leave a specific set of instructions,
it is up to the student to make musical inferences for each characteristic section of
the piece.
Another contemporary of Almenräder and Weissenborn, Ludwig Milde (1849-
1913) was well known Bohemian bassoonist and professor of bassoon at Prague
Music Academy. Born in Prague on 30 April 1849, Milde began his studies at the
Prague Music Academy. He finished his studies at Prague in 1867 and then
continued his study in composition and harmonic forms from 1868 - 1870 with
Professor Skukersky, who influenced his composition style later in his career63.
After completing his studies, Milde won the principal bassoon position at the opera
house in Linz, Austria. He served in surrounding opera orchestras and symphonies
in Bohemia before becoming professor of bassoon at the Prague Music Academy
(1886-1894). After Milde’s time at the Academy, he continued his career as a
soloist in Germany. He continued writing and performing until his death in 1913.
While working as a performer, Milde wrote three bassoon tutors: Special Etudes,
Op. 1668, 25 Studies on scales and chord compositions for bassoon Op. 1469, and
50 Concert Studies Op.26. In Milde’s 50 Concert Studies, Milde presents technical
challenges, use of all ranges, and opportunities for students to engage in making
informed, musical decisions while engaging in rich musical material. All Milde
Concert Studies present technical and musical challenges for the student to solve.
For example, Milde Concert Study #5 presents the challenge of playing in b minor
while having contrasting sections in other related keys. It is the job of the student
to make musical decisions based on the music Milde provides.
Milde also contributed solo repertoire to the field, including: Concerto in D Major,
Concerto No. 2 in F Major, Andante and Rondo Op. 25, and Polonaise, which were
scored for bassoon and orchestra. In addition to these bassoon concertos and
performance music, Milde composed many study works for the bassoon utilizing
elements from his 50 Concert Studies Op. 26 . The direct transfer of etudes to the
stage is presented in Three Study Pieces. The third movement, Adagio, is an edited
version of Milde Concert Study #3. The edits included new notes, rhythmic
changes, and added bar lines. Milde’s tutors and pieces did not gain prominence
until the end of Milde’s solo career. Milde’s tutors and solo repertoire pushed the
German school of bassoon pedagogy further into the Romantic Era of music, and it
still widely used today.

France
Etienne Ozi (1754-1813), professor of bassoon at the Paris Conservatoire (1793-
1813), wrote one of the first comprehensive tutors for bassoon in the eighteenth-
century. Born in Nimes on 9 December 1754, Ozi moved with his family to Paris
and began his studies at a young age. His career as a bassoonist began in Paris with
the Concert Spirituel in 1779. From 1779-1790, he performed over 370 concert
performances, which included many of his own compositions.
During the French Revolution, he joined the band of the Garde Nationale where he
taught and played bassoon. The band changed its name to the National Music
Institute in 1793 became the Paris Conservatoire in 1795. In 1797, Ozi became the
director of the Magasin de Musique, the publishing house associated with the
Conservatorie. Ozi remained professor first class and continued to have a
prominent career in Paris. Ozi worked in theaters as both an orchestral and solo
bassoonist. In 1806, he won the job of principal bassoonist of Napoleon's Chapelle-
Musique, where he played until his death on 5 October 1913.
Ozi published one tutor: Method for bassoon with airs and duets (1788). It was one
of the first formal comprehensive bassoon tutors of the eighteenth-century, and
was published throughout Europe. The first edition was written for six and seven-
keyed instrument. Almenräder used examples from the tutor as references for
improving the instrument. The method began with a catalog of works published by
the Magasin de Musique, which included classical overtures, method books, suites,
concertos, and symphonies for students’ future reference. After the catalog of
music for students, he organizes his method through article numbers. Topics in the
articles included: reed construction, instrument care and assembly, fingering
charts, technical exercises, adjustments for pitch, embellishments and
improvisation, and duets. Throughout his method, Ozi wrote down the oral
tradition of bassoon pedagogy in France. He later revised the tutor and titled it The
New and rational method for bassoon (1787). Etienne Ozi’s comprehensive
bassoon tutor created the foundation for the French school of bassoon pedagogy.
Ozi’s contributions to bassoon repertoire included: Concerto No. 1 in F Major, Op.
8 (1796), Concerto No. 2 in C Major, Op. 4 (1785), Concerto No. 3 in C Major,
Op. 6 (1782), Concerto No. 4 in F Major, Op. 9 (1785), Concerto No. 5 in F Major,
Op. 11 (1787) Concerto No. 6 in C Major (c 1795), Concerto No. 7 in d minor (c.
1801), Ouzounoff, and 42 Caprices. Ozi composed and performed many of his own
works. The bassoon parts showed Ozi’s virtuosity as a performer. For example, the
bassoon part in Sonatae I from Drei Sonaten have the player in the upper register
of the instrument for the majority of the first and second movements. The sonatas
also included very specific ornamentations and difficult octave displacements.
With the technical and artistic demands of his own literature, Ozi presented the
bassoon as a solo instrument to audiences in Paris. Ozi laid the framework for the
French school of bassoon pedagogy through his tutor and contributions to the solo
repertoire.
Eugène Jancourt, the professor of bassoon at the Paris Conservatoire (1875-1891)
after Ozi, was a prolific composer and bassoonist. Born in Chateau-Thierry,
Jancourt enrolled in the Paris Conservatoire in December 1834. During his time at
the Conservatoire, he studied with Gebauer, who also taught Ozi. After one year of
formal study, Jancourt won Second Prize followed by First Prize in 1836. Due to
financial constraints, Jancourt could not afford to update his deteriorating bassoon.
As a result, Jancourt’s teacher gave him one of his own bassoons to play. Jancourt
left the Conservatoire in October of 1837 to play small theaters in Paris and won
the principal bassoon position at the Théâtre Italien. While working with the
Theatre, Jancourt performed solo works and appeared at the Conservatoire’s
Société de Concerts twice (3 April 1842 and 10 December 1843). In 1844, Jancourt
found employment at the Royal Conservatory in Brussels because the previous
professor, Willent Bordogni, left the institution for a position at the Paris
Conservatoire. After eight months of teaching, Jancourt moved back to Paris and
joined the Paris Opéra as first bassoonist on October 1, 1849.
Returning to Paris once again, Jancourt played at the Théâtre Italien and Opéra-
Comique, where he played first bassoon. In 1867, he was appointed chef de
musique for the fifth subdivision of the Garde Nationale de la Seine and succeeded
Kokken in February of 1875. Four years later, he was made an Officer at the
Academy followed by Officer of Public Instruction. Jancourt held his position at
the Paris Conservatoire until his resignation on October 1, 1891. Jancourt retired to
Boulogne-sur-Seine until his passing on January 29, 1901.
Jancourt contributed to the bassoon repertoire and pedagogy. His methods
included: Great theoretical and practical method, Op. 15 (1845), 26 Melodic
Studies from Op. 15 (1847), The New Tablature for Bassoon, and Bassoon study
for the perfecting of key rings in 22 keys, Jancourt system (1876). Jancourt’s
prominent career as a bassoonist directly influenced his bassoon tutors. For
example, in the opening chapter of his method, Jancourt discusses the
characteristics of the bassoon through Gluck, Mozart, Beethoven, Rossini, etc. He
referenced his experiences performing these works and how it translates to the
developing bassoonist. Jancourt’s tutors took Ozi tutor and added more
information to each article. The chapters in Jancourt’s tutor are divided into three
sections, each emphasizing different technical aspects of the instrument, music
theory, and music literacy for developing players, similar to Ozi’s tutor. Jancourt
was one of the most prolific composers for the bassoon. His contributions to the
solo bassoon repertoire included: Suite No. 1 (solo bassoon), Fantasy on “Lucia di
Lammermoor”, Op. 26 (1884), Solo D Major, Op. 52 (1887), 3 Melodies, Op. 78
(1883), Neapolitan Song and Variations, Op. 89 (1887), and Solo in D Major, Op.
99 (1885). Jancourt also wrote additional study materials that include: 18 Solos
(Evette, Costallat), Six Fantasies (Costallat), Nine Sonatas (Costallat), Three
Concertant Duets for two bassoons (Evette), Three Concertinos (Costallat, Evette,
Noël), Duo Concertant, Op. 6 for bassoon and piano (Richault, Costallat), Etude
grade pour le basson (Evette), and Favorite Melodies, 2 vols. (Evette). The first 9
of the 18 solos were chosen for concour pieces between 1876 and 1891. Jancourt
published a total of 116 works for the solo repertoire, but anecdotal evidence
suggests many manuscripts are missing pages and/or lost. In the solo works known
and played today, there is a wide range of styles and instrumentations, each
requiring high technical demand from the bassoonist and higher-level thinking
skills as a performer.
While working as a soloist, Jancourt assisted in modifying and improving the
French bassoon. In 1840, Jancourt began collaborating with French instrument
maker Auger Buffet to apply the Boehm system to the bassoon. After the failed
attempt to put the Boehm system on the bassoon, Jancourt worked on other
changes for French bassoons. These modifications included key rings on the right,
left hand holes that closed two additional tone holes, and added a crook key for the
left hand little finger. In 1850, Jancourt worked with Frédéeric Triebert and moved
the tone holes up on the instrument, altered bore sizes on each joint, and added
high vent keys. Jancourt’s experiments with Buffet and Triebert led to the creation
of the Jancourt system that modified key rings on the right hand and left hand tone
holes that closed two additional tone holes. These adjustments were standardized
for the French instrument of the nineteenth-century.
Eugène Bourdeau, born 14 June 1850, was professor at the Paris Conservatoire
(1892-1902) who extended on the work of Jancourt. In the early portion of his
career, he competed and won the Second Medal (1865), Second Prize (1867) and
First Prize (1868) in the Solo de Concour contests. Bourdeau found success with
his bassoon career when he became principal bassoon of the Opéra Comique in
1888 and stayed with the group until 1902. Shortly after being appointed with the
Opéra Comique, Bourdeau was appointed professor of bassoon at the Paris
Conservatoire in 1892 and stayed until 1902. While working at the Conservatoire,
Bourdeau produced masses, motets, and solo repertoire for the bassoon. He
completed three bassoon tutors during his tenure at the Conservatoire: Complete
Grand Method, Collection of Scales and chords (1894/95), and 30 etudes.
Bourdeau’s tutors further extended Ozi and Jancourt’s tutors and included an
updated fingering chart, a different set of technical and lyrical exercises, and
instructions on reed making and maintenance. While Bourdeau’s technical and
lyrical exercises were not as long as Jancourt and Ozi’s, his exercises were more
harmonically complex. Bourdeau’s tutor differed from Ozi and Jancourt because
the French bassoon became standardized and customizable during his time at the
Conservatoire. The French bassoon of the late nineteenth-century saw an official
standardization of Jancourt’s key work and French reed style. As a result,
Bourdeau’s tutor explored these finalized elements of the French instrument while
emphasizing the fundamentals of his predecessors.
Along with his methods for bassoon, Bourdeau produced three solos for bassoon
and pianoforte (1907, 1908 and 1911). These solos were composed as examination
pieces for the Paris Conservatoire. His solo works were not as technically
challenging as Ozi or Jancourt. Instead, his solo works started off with a simple
melodic idea and then branched off into different technical variations of the theme
leading up to brilliant and simple finishing phrase. By combining simple and
complex elements in his examination pieces, students had opportunities to
showcase what skills they mastered and show what skills needed more work in the
following semester.