The contrabassoon—also known as the double bassoon—is a larger version of the bassoon that plays an octave lower. It is a fascinating instrument with a rich history, classified as a double-reed aerophone with keys. Commonly used in orchestras and as a solo instrument, playing the contrabassoon requires no specialized study, as its mechanism and operation are nearly identical to those of the bassoon.

The Hornbostel-Sachs classification identifies it as 422.112-71. This instrument, with its unique features and historical background, has recently gained appreciation among music enthusiasts. This newfound interest is attributed to its distinctive tonal qualities and the intriguing history it carries, which makes it a subject of both musical and scholarly fascination.

The history of the contrabassoon: creation, construction, and diffusion

The contrabassoon was first constructed and made functional in 1620 in Berlin by Hans Schreiber, a renowned local craftsman and music enthusiast. Using wood, he crafted an instrument capable of playing an octave lower than the traditional bassoon. This achievement was the culmination of a much longer journey, initiated centuries earlier. As early as 1590, across Austria and Germany, the growing interest in musical arts spurred various attempts to create a bassoon capable of producing lower tones. These efforts, rooted in the Baroque era, culminated with Schreiber’s ingenuity.

By 1714, the contrabassoon had spread across Europe, especially in England, where it became a staple of church music, integral to hymns and liturgical songs. During this period, works such as St. John Passion by J.S. Bach and L’Allegro by G.F. Handel highlighted its potential. However, early models suffered from structural issues, resulting in inconsistent and less appealing sound quality.

In more recent times, the contrabassoon has been refined into a remarkable musical instrument. Notably, the German company Heckel perfected its design, introducing a narrower bore and increased length. These changes allowed for a more precise duplication of the bassoon’s valve aperture and enabled the instrument to achieve its desired tonal range.

How the contrabassoon is made and how it differs from the bassoon

The contrabassoon features a much longer and larger reed compared to the bassoon and doubles back on itself twice. For this reason, it is supported by an endpin rather than a strap, although a strap can be used to enhance stability during performance. Its main body is typically made of wood, while its tubes, keys, and reed structure incorporate metal. Inside the reed, the contrabassoon houses several bamboo strips that allow it to reach the sought-after lower octave tones.

On its body, the contrabassoon includes a water key to release condensation during extended play sessions. Even when disassembled into its two main components, the instrument is cumbersome to transport due to its weight. Its rich and deep sound owes much to its substantial size, which influences both timbre and tonal structure.

The reed of the contrabassoon can be up to 7.5 cm long and contains ultra-thin blades. Some Russian contrabassoons are now available on the market, characterized by a straight bell alternating between wood and metal. However, they remain relatively rare and less favored among musicians.

How to play the contrabassoon

To play the contrabassoon correctly, it’s important to position the instrument properly. Due to its large size, it must rest on the floor for stability. Mastering the keys requires dexterous hands and strong coordination. The adjustable bocal (mouthpiece) can be adapted to the musician’s height, facilitating easier performance.

Tonally, the contrabassoon is an octave-transposing instrument, meaning the notes played correspond to the written score but sound an octave lower. While this characteristic defines its appeal, it can also produce higher notes using special reeds. However, this compromises the ability to produce its signature low tones, which are its most valued feature.

The contrabassoon is widely used in brass bands and mixed orchestras. Historically, its large and ungainly appearance limited its attractiveness to audiences, leading to its underrepresentation in compositions. Despite this, many composers who included it in their works contributed significantly to musical history.

Famous artists and soloists who play the contrabassoon

This instrument, despite its unconventional appearance, is beloved by solo musicians, though their number is relatively small compared to those specializing in other instruments. One notable figure is Susan Nigro, an American artist with the Chicago Symphony, who has made the contrabassoon her hallmark. Additionally, in the United States, jazz musician Garvin Bushell incorporated the contrabassoon into the recording sessions for John Coltrane’s album Village Vanguard.

The rarity of contrabassoon soloists is due to its differences in sound and mechanics from the bassoon, making them non-interchangeable, despite the contrabassoon being capable of playing bassoon repertoire.

A fun fact about the contrabassoon: it has been used in famous works like The Sorcerer’s Apprentice and The Rite of Spring, where it creates comedic or ominous effects to captivate the audience.