Sitting to play the bassoon for lessons and almost all performing has been common in the U.S. at least since WWII. In Europe, however, bassoonists appear to stand on a regular basis. I stood to play for the first time to perform the Mozart Concerto in 1976. Since then I have stood for all solo performances, and as often as possible in chamber music. Most other woodwinds stand for lessons and performing.
To be completely comfortable while standing I strongly recommend having a 'balance hanger' for the instrument and it might be necessary to experiment with a sling instead of a neck strap. I found that it was absolutely essential to use a hand rest (crutch) while standing.
Some players also have a 'belly guard' that keeps the instrument a little bit away from the right side of the body. I was intrigued by William Waterhouse's performance with orchestra at the IDRS meeting in Victoria BC. He stood to play by placing his spike on the seat of a chair.
I am lucky in having a relatively light instrument, but nowadays instruments have become heavier. A heavy instrument will make it more challenging to stand, especially if it is 'top heavy' and puts a lot of weight on the left hand.
When our double reed quartet OBOHIO was active we always stood and I thought we could communicate better as a result. An additional positive result for standing is that the sound of the instrument is better, possibly due to the more even reflection of the sound from the floor. Recently, a colleague told me the New York Woodwind Quintet stood to play in a concert in Ohio. I applaud that, as I think it will make it more interesting for the audience.
Best wishes to all, Christopher Weait
Principal bassoon, Toronto Symphony (1968 - 1985)
IDRS Honorary Member; Emeritus professor Ohio State University