of pommer at the
outset, but in any case before 1555; that the very term _Phagoto
d'Afranio_, by which the instrument was known during its short fabulous
existence, with its pretended Greek etymology, presupposes the
pre-existence in Italy of another _fagotto_ with which Afranio was
acquainted, perhaps imperfectly. Afranio's was the age of ingenious
mechanical devices applied to musical instruments, many of which, like
Afranio's, being mere freaks, did not survive the inventor. A document
selected from the valuable archives published by Edm. van der Straeten[18]
suggests a satisfactory clue. In 1426 Louis Willay, a musical instrument
maker of Bruges, sold to Philippe le Bon a triple set of wood-wind
instruments, _i.e._ "4 bombardes, 4 doucaines and 4 flutes," to be sent as
a gift to Nicolas III., marquis of Ferrara. The new instrument, the
doucaine, we may imagine, by its unusual appearance provoked the satirical
wit of some courtier, and was henceforth known as _fagotto_. Just a century
later Ravilius of Ferrara made Afranio's first phagotus from the inventor's
design.

The bassoon has been a favourite with all the great masters, excepting
Handel. Beethoven uses the bassoon largely in his symphonies, writing
everywhere for it independent parts of great beauty and originality. Bach,
in his mass in B min., has parts for two bassoons. Mozart wrote a concerto
in Bb for bassoon, with orchestra (Kochel, No. 191). Weber has also written
a concerto for bassoon in F (op. 75), scored for full orchestra.

See also Etienne Ozi, _Nouvelle Methode du Bassoon_ (Paris, 1788 and 1800);
J. B. J. Willent-Bordogny, _Gran Methodo completo per il Fagotto_ (Milan,
1844), with illustrations of early bassoons (English edition, London, J. R.
Lafleur & Son); Joseph Froehlich, _Vollstaendige Musikschule fuer alle beym
Orchester gebrauchliche wichtigere Instrumente_ (many practical
illustrations) (Cologne, Bonn, 1811); article "Bassoon," by W. H. Stone and
D. J. Blaikley in Grove's _Dictionary of Music and Musicians_ (2nd ed.);
article "Fagott" in Mendel's _Musikalisches Conversations-Lexikon_; for the
history of the instrument, and of its prototypes, see OBOE and BOMBARD.

(K. S.)

[1] At Wagner's instigation, the wind-instrument-maker, W. Heckel of
Biebrich-am-Rhein, made bassoons with an extra key, extending the compass
downwards to A.

[2] Macrobius in _Somn. Scip._ lib. ii. cap. 4. 5.

[3] Gottfried Weber, "Verbesserungen des Fagotts,"