Вільям Уотерхаус і Моріс Аллард: видатні постаті в історії фаготного виконавства
A.V. William Waterhouse and Maurice Allard: eminent figures in the history of bassoon performance

Summary/Abstract: Purpose of the article. The article is devoted to two outstanding bassoonists of the 20th century – Maurice Allard and William Waterhouse. The choice of the theme is based on the need for comprehensive assessment of the leading musicians' work in the history of the bassoon performance development. The methodology of the research lies in applying the historical, biographical, comparative and activity approaches, which allows to reveal and evaluate the effective interaction of various types of activity of the foremost bassoonists in historical and cultural aspects. Scientific novelty of the paper lies in complex systematization and evaluation from the standpoint of the historicity of the results of Maurice Allard's and William Waterhouse's work. For the first time information on the life and work of W. Waterhouse and M. Allard is summarized given assessing the importance of these figures for the development of the bassoon art in the 20th century, which is decisive for changing the status of bassoon both in concert practice and in historical dynamics. The directions for future research are evident both in the field of academic musicology (historical, theoretical, performance) and in the areas of inter-academic interaction. Conclusions. The work of Maurice Allard and William Waterhouse, outstanding bassoonists of the twentieth century, was crucial for the evolution of bassoon practice. Thanks to their energy and activity in various spheres of cultural and artistic life, bassoon became a bright solo concert instrument, which is comparable by its virtuosity and expressiveness with other woodwind instruments. In addition to the fact that Maurice Allard and William Waterhouse are known for various aspects of activity (performing, teaching, educational, organizational), they have become founders and bright representatives of two leading schools of bassoon performance – German and French ones. Such complementarities have become a powerful impetus and a valuable example of the attitude towards their profession for the next generations of musicians.

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