| Description | Solo |
|---|
| 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. | |
| | Description | Solo |
|---|
| 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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