It has come to my attention that some bassoonists find Weber's Andante and Hungarian Rondo to be an unsatisfactory performance piece "because it was originally written for viola." I mentioned this to one of our orchestra violists and he replied "but the bassoon version is different." After hearing this, I wondered what it would be like to play the original. Upon closer study I found that there are two areas that are considerably different from the bassoon edition. The 32nd note passage (measures 60--75) in the Andante and the 16th triplet passage in the Rondo, (measured 290 to the end). There are other differences as well in the Rondo that distinguish the viola edition. I tried to incorporate these new passages but ended up going back to the "original" bassoon version with one exception. The enclosed passage is inserted after the first eight bars of the 32nd note passage (measures 68--74). It is a very challenging ossia, requiring circular breathing or very good, big lungs.
I performed the piece twice with the Oregon Symphony and found that the "viola passage" was easily "buried" by the violins who are playing the tune at that point. So, I guess the original bassoon edition is better after all, but someone might want to give this a try on their next recital.
Mark Eubanks, Principal Bassoonist with the Oregon Symphony, Adjunct Professor of Woodwinds with Lewis & Clark College and President of Arundo Research Company performed The Andante and Hungarian Rondo by Weber with the Oregon Symphony on March 7 and 10, 1982. Oregon Journal reviewer Martin Clark called Eubanks' solo "a delightful performance " while the Salem Statesman described the Weber work as a "vapidly virtuosic piece. " ED.