Catriona McDermid enjoys a varied career as a modern and period instrument bassoonist and keen educator. She performs as principal bassoonist with leading period instrument ensembles such as The English Concert, English Baroque Soloists, Orchestre Révolutionnaire et Romantique and Academy of Ancient Music. She is also in demand as a modern orchestral bassoonist, playing guest principal with orchestras such as London Philharmonic Orchestra, BBC Philharmonic Orchestra and RTÉ Symphony Orchestra. A keen chamber musicians, Catriona is a member of the first-ever BBC New Generation Baroque Ensemble, Ensemble Molière.

What non-musical hobbies or interests do you have?

I am fully craft obsessed, mostly sewing, knitting and crochet! I can usually be found wearing at least one homemade garment and happily settled in a nest of wool!

What made you choose the bassoon?

Being a stubborn child! I learnt piano and violin by default (my mum was a piano teacher and my sister played violin). I was very fortunate that my parents could see from this that I loved music and let me choose my own instrument. Really I think I fell in love with the sound but I’m sure the fact that it looked cool and nobody else played it were also enticing factors!

What is your superpower / superhero ability?

Building nests around me wherever I go! Ask my Ensemble Molière colleagues - they’ll back me up!!

Ensemble Molière comprises a unique line-up of instruments. What is it that is special about this combination for you?

For me our unusual combination of instruments gives us so much scope to play with one of my favourite things - different timbre and colour! So much of the repertoire that we play is innately colourful and our set-up helps us to bring this to life, especially in our reductions of orchestral music. It’s a real joy to be able to play with the wind-string divide and the luxury of three different bass colours!

In March 2024 Ensemble Moliere released their debut album, The Kings Playlist. Could you share with us any special moments in the realisation of this project?

One of the most special moments for me was first running through the Grande Passacaille from our Delalande suite. It was new to all of us and I think we were all blown away by it!

▶

You are passionate about education and community work. Can you tell us more?

I’m drawn to it for many reasons! Mostly, I really enjoy it and it really keeps me on my toes as a musician, drawing on different skill sets. In many ways it’s the most free part of my job musically, with lots of improvisation and certainly a lot of going with the flow, especially where little ones are involved!! I’m also very aware that a lot of privilege has helped me to where I am in my career and it feels important to me to own that by giving back to others where possible.

Describe a particularly challenging or rewarding moment in your musical journey.

One of my craziest concerts was my first-ever concert with the English Baroque Soloists. My fellow bassoonist was taken ill and with about half an hour of warning I had to attempt to play bassoon 1 and 2 throughout the concert, flitting between both parts, depending on what was most important… I’m still amazed by how calm I felt, but this probably just came from knowing any attempt to cover both parts was better than none!

If I’m allowed a second one, it was having a child drop a clave down the end of my bassoon and trying not to swear. I managed. Just...

What is your earliest musical memory?

Playing the violin age 6 or so in Yorchestra (yes, you read it correctly) - having to play offbeats in the Can Can and failing miserably. The conductor was conducting with a toblerone, though, and you got a piece of if you did well - you win some, you lose some!

What is your greatest fear?

Mouldy reeds.

As a member of Ensemble Molière, what do you enjoy most about your role, and how do you overcome any challenges?

I am happiest when we get to play music with devastating crooning bassoon lines, most often thanks to my favourite Mr Rameau! Trying to balance a bassoon to a gamba or flute can be challenging at times. In recording sessions, I have been known to just stand further away from the microphone… Otherwise it’s practice, negotiation and praying for an acoustic that doesn’t love the bassoon too much!

Catch Catriona playing with Ensemble Molière in Hidden Gems on 21 February in North London , supported by Continuo Foundation, or on 22 February in Edinburgh. You can read more about the group's debut album in this article about The King's Playlist, which is available to purchase via their website, or to listen via all major streaming services.