This sonata having been written in the last year of Saint-Saëns’s life (1921) the Almenräeder/Heckel Fagott was already well established, and the dichotomy between the two bassoon genres as well. The dédicacé to Léon Letellier of the Opéra de Paris really only underscores what is already apparent in the solo bassoon writing; that this piece was intended for the sonority of the French Basson, as exemplified in this recording by Maurice Allard. It would not be an exaggeration to say this rendition by Allard (who forbade the German bassoon in the French Conservatory) epitomizes everything one may find for or against the Buffet-style French bassoon, with a detractor lamenting perhaps a “nasal” or “reedy” sound, and a defender extolling a vocal-like fragility, both as opposed to the more uniform voicing, for better or for worse, of the Almenräeder/Heckel more modernized instrument. The ability to soar into the highest register (with high E4 appearing in both song-like voice and playful staccato in this sonata) without sounding pinched or agonized is clearly characteristic of the Buffet -style instrument of this period. Whatever one’s preference, there can be little doubt that the present, French sound would be closer to the classical bassoon that Mozart and Beethoven, but even Brahms, Tchaikovsky and Stravinsky would have written for (Stravinsky having said as much himself). Allard’s sonority also distinguishes itself from more recent popularizations of the French-style bassoons making much headway in the past two decades, with a sound often nearly indistinguishable from that of the Heckel, though we cannot know or guess what Allard would have thought of the post Ducasse voicing of the French models. In summary, and all preference or opinion aside, it is fair to surmise that this rendition of the Saint-Saëns sonata is the most faithful we have today, in a good-quality recording, to the musical and sonorous intent of the composer.
Thank you for this beautiful comment... Allard's Saint Saëns is my favorite recording of the sonata and your comment captures why. Allard played it the way Saint Saëns intended it to be played and it's absolutely stunning. Every time I listen to this recording I am in awe of his total mastery over the basson (particularly in the second movement).
Thank you for these insightful comments. How Saint-Saëns imagined his bassoon to sound like can also be heard in Dicéphile's Couplets from Phryné's Act 2, presumably played on French bassoon by the soloist in the version with Denise Duval in the title role.
These notes show some level of scholarship -thanks. Even though I agree with most of what you say, the final word would be a matter of taste- one way or the other. I personally prefer the German bsn. Having said that, the artistry of Mr. Allard is beyond any comments. Thanks for this post.
A recording of a great player posted by a great player. Thanks for putting this up, I only have an old tape recording of my dads LP, it is nice to hear this again. His technique is phenomenal, but his musicality is even more so. Thanks!
Excellent artistry! I find it very difficult to tongue in the highest register. Thank you for putting up this recording, it is my favorite piece written for bassoon.
How stunning the sound of the Buffet system is! My first experience with the bassoon was in 1954, when, at the age of eight, I walked into a recital with Archie Camden in Scotland, where he played the bassoon's one and only ever #1 hit: Allegro Spiritoso, by Senaille, which BBC continued to use as a theme into the 1980's. Camden, with the Halle orchestra, was the first British player to use the Heckel, or German system, in Britain. I play the Heckel, but I LOVE all those Degas paintings.
I just bought a Buffet French Bassoon and can't wait to start learning the instrument. I've always loved hearing Maurice Allard recordings and can only hope to have a little of his mastery of this wonderful instrument
I've never heard the second movement so fast! And the tone is so bright and vibrant and reedy it almost sounds like a saxophone. I could only dream of taking on this piece at such a fast tempo and with such accuracy and musicality!
I love this recording so much. I find many players rush the first movement, but their second movement is too slow... Allard is the opposite, both of his tempos are perfect. All the while he is totally accurate and demonstrates absolute mastery over the bassoon.
Perfect tempo for the scherzo. But it's so much easier at that tempo on a French bassoon, but sounds SOOO much better on a German-style bassoon IMHO :-)
