In the history of the French bassoon art, the second half of the 18th and the beginning of the 19th centuries became a crucial period in the development of the national performing arts school. Its formation was inextricably linked to those complex socio-political, social and cultural processes that unfolded in France at that time. Still, that historical period of the French bassoon school is studied insufficiently and, therefore, requires a deeper research in modern scientific works.
The scientific novelty of the work lies in the fact that for the first time: he historical stages of the French bassoon school formation and development in the second half of the 18th – early 19th centuries was conducted; the prerequisites for the bassoon performance professionalization in the church music and education system of France are determined; the main factors P.Cugnier’s bassoon didactics are revealed; the process of bassoon classes formation in the Paris Conservatory at the early stages of its development was investigated; the peculiarities of the competitive training system and its significance in the professional training of bassoonists are highlighted; the decisive role of E.Ozi in the formation of the fundamental principles of the French bassoon school is shown; a comparative analysis of «Méthode nouvelle et raisonnée pour le bassoon» and «Nouvelle Méthode de basson... adapted par le Conservatoire pour servir à l'étude dans cet établissement» by E.Ozi was carried out; the influence of vocal technique on the technological principles of bassoon sound formation was revealed; F.Devienne’s and E.Ozi’s works for bassoon were analyzed.
The dissertation two stages of the French bassoon school development - before the revolution of 1789 and post-revolutionary period (until 1815), which were accompanied by the changes in the French sociopolitical and economic systems.
It is emphasized that one of the most significant achievements at the first stage of the formation of the national performing school was the introduction of the bassoon in the Maîtrises curricula and its use in church ensembles to accompany choral singing during church services. The Maîtrises were the places where the process of the bassoon performance professionalization began. Having received a professional church music education, orchestral musicians, soloists and teachers, eventually, laid the foundation for the national performing school.
Another important factor in the French bassoon school development is the flourishing of solo performance on the instrument, which led to concert repertoire expansion. Among the numerous works for bassoon written by French composers in the classical period are concertos and sonatas for bassoon and basso continuo by F.Devienne, E.Ozi and P.D.Deshayеs, which were obviously important in revealing the expressive possibilities and technical potential of the instrument, training professional performers and their brilliant concert activities.
The analysis of the works of E.Ozi and F.Devienne made it possible to draw conclusions about the successful adaptation of the classical sonata for bassoon in its national modification, the attributes of which were reliance on theatrical entertainment, dancing style and concert performance. F.Devienne managed to discover new timbres, sound expressive, dynamic and virtuosic capabilities of the bassoon, which helped it take up the soloing position on the concert stage. As a solo instrument with great artistic, imaginative, technical and dynamic potential, the composer entrusts to the bassoon the themes of a wide imaginative genre range: from courageous heroics and tender lyrics to exquisite dancing styles and rapid agility. F.Devienne uses a multi-thematic sonata form typical for the French instrumental sonata genre and solo concert, based on the juxtaposition of themes as the carriers of imagery in accordance with the canons of classical theater drama.
It has been established that the revival of solo performances of such outstanding virtuosos as E.Ozi, F.Devienne, F.Jadin, Schubart, etc, whose impressive skills made the audience admire Spiritual concerts in the royal palaces of Versailles, significantly increased interest in the bassoon, contributed to its popularization and taking up solo positions on the concert stage.
A special place among virtuoso bassoonists in the last quarter of the 18th century belonged to E.Ozi. His active creative work is largely a reflection of the dynamic growth of bassoon solo performance in France, which in the 1880s was at the highest stage of its development. It was the time when young virtuoso's regular solo performances in Spiritual Concerts began, and at the same time, the overall statistics of the bassoon presence in them increased dramatically. The analysis of bassoonists concerts in the palaces of Versailles confirms the leadership of E.Ozi, who in the specified period outnumbered his colleagues F.Devienne, F.Jadin and L.Tulou.
