Music Quiz / Famous Orchestral Bassoon Solos

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Can you name the famous bassoon solos in the classical repertoire?

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This rhythmic solo for 2 bassoons comes from the 2nd movement ('Giuoco delle coppie') of this work for full orchestra, by a Hungarian composer.
There are solos in all 3 movements of this late Classical- almost Romantic-era work. The composer contrasts the solo instrument with the bassoon.
The solo occurs in the 4th movement of the symphony, sometimes referred to as 'the 24 notes to glory'; Sort of a misnomer, because it's that grace note which trips you!
The 1st has a countermelody to the well-known tune in the 4th movement of this symphony, but the 2nd just doubles 'celli and basses. Universal brotherhood, indeed!
The 4th and 5th movements of this programmatic symphony are actually solis. This doesn't make them easier. I'd rather be led to the scaffold!
The overture is most commonly asked, but the entire opera is excerptible. Demands exacting technique, and an honest 'piano' from the bassoon. It reminds me why I don't play violin.
The 3rd movement's solo is one of the most technically formidable. It's split between parts, but, usually, the 1st plays, and the 2nd prays in this French Impressionist's concerto.
A very beautiful, high-register solo in a work that most people call repetitive, this one movement orchestral work was originally commissioned as a ballet for Ida Rubenstein.
A rather famous solo for the contrabassoon begins this non-traditional concerto. Tonally equivocal, it gives the impression the orchestra is still tuning.
The 2nd movement solo is ad lib., but also quasi-recitative. Three cadenzas follow in this symphonic suite by the youngest of the Russian Mighty Five.
This Russian composer's symphonies are riddled with political undertones. The solo between the 4th and 5th movements acknowledges his desire to be artistically and politically free
The composer once joked that every few years, this famously high opening solo should be raised a semitone, which might have caused yet another riot.
Tentatively ending the 2nd movement of this symphony, it's the dolorous theme, stated first by the oboe. The work stems partly from the composer's nervous breakdown.
From the 2nd movement of this Finn's 2nd symphony, the solo, 1st and 2nd in octaves, is marked 'lugubre', and is based on the same rising 3 note motif which pervades the work.

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