The Winnipeg Symphony Orchestra’s BMO Beyond Classics series begins this Saturday with principal Kathryn Brooks performing exquisite music from the Mozart catalogue: the Bassoon Concerto in B-flat, K. 191.  

“Mozart knew what he was doing with the bassoon,” says Brooks, pointing to the lyrical, idiomatic, and, sometimes humorous, writing found in the symphonies, operas, and chamber works. Of course, the bassoon concerto is no exception, despite being the 18-year-old Mozart’s first foray into featuring a wind instrument with orchestra.

“(Mozart) has a way of writing technically for the instrument that gives the player a chance to make it sound good,” explains Brooks. “He doesn't go beyond the scope of the instrument, it’s not easy but it’s not impossible… it’s satisfying music to play.” 

Of Our New Day Begun: Mozart, Shostakovich & Thomas takes place at 7:30 pm at the Centennial Concert Hall on Saturday, October 30. 

In the full conversation with Kathryn below, hear more about the velvety sound of the bassoon; the importance of making one’s own reeds; how the instrument has remained relatively unchanged throughout the past 3 centuries; and the ideal number of thumbs required to play the bassoon. 

Disclaimer: Simeon pressed the wrong button, so the audio is a tad lacklustre in the interview. He promises to actually make sure the mic is on next time.