Accepted ideas are often persistent. Despite the many arguments for and against it, the bassoon's reputation remains that of a buffoon, sometimes sad it is true, but one whose real nature returns with a rush with its staccato passages, its amazingly hoarse voice and the falsettos of its high-pitched notes. It is undeniable that the bassoon is capable of comic effects. One need only think of the motifs of the broom in The Sorcerer's Apprentice by Dukas and of the grandfather in Prokofiev's Peter and the Wolf. But limiting the instrument to this role is a mistake, and many composers have proved this.
The bassoon is above all a lyrical instrument with a rich tone, warm and profoundly human. Its sound is noble, tender and mystical in turn; its virtuosity enchants and dazzles. It is to the oboe what the cello is to the violin. Since the Baroque period, notably in the music of Lully and Bach, it has been one of the mainstays of the orchestra.
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