Alumna Interview: Catherine Van Handel (Bassoon '15)

Hailed by the Philadelphia Inquirer as “assured and startlingly lyrical, [her solo] signaled an orchestra-wide philosophy” and praised by the Milwaukee Journal Sentinel for a “polished, warm sound, full of color and nuance,” Curtis alumna Catherine Van Handel (’15) has served as the principal bassoon of the Milwaukee Symphony Orchestra, holding the Muriel C. and John D. Silbar Family Bassoon Chair, since 2017. Prior to joining the Milwaukee Symphony, she was associate principal bassoon with the Toronto Symphony Orchestra.

While Mrs. Van Handel was studying at Curtis, she held the principal bassoon position with the Harrisburg Symphony Orchestra. She has performed with numerous orchestras across the country, including The Philadelphia Orchestra, Chicago Symphony Orchestra, National Symphony Orchestra, Grant Park Orchestra, Kansas City Symphony, Virginia Symphony, and Richmond Symphony. Catherine has worked under such world-renowned conductors as Sir Simon Rattle, Yannick Nézet-Séguin, Andris Nelsons, Fabio Luisi, Lorin Maazel, Stéphane Denève, and Osmo Vänskä, among many others.

The acclaimed bassoonist, educator, and artist advocate was recently announced as one of the recipients of the school’s second annual Daniel W. Dietrich II Young Alumni Fund, which focuses on the “musician lifecycle,” easing the transition from student to professional life as it supports innovative projects, community and nonprofit organizations founded by alumni, the commissions of new works, and the production of new commercial films and audio recordings. Mrs. Van Handel’s funding went towards the completion of her brilliant debut album, Bassoon Soirée: From Latin America to Paris, which was released in January 2023. She recently shared her musical journey, the impact of Curtis on her development as an artist, her diverse new recording, and her interest in expanding her discography and collaborating with other artists.

When did your love affair with the bassoon first blossom, and how has your relationship with the instrument progressed over the years?
I will preface by saying that the bassoon is not typically the first instrument that young people start on. For me, I started playing the piano at the age of four and the cello at the age of five. When I was first introduced to the bassoon at age fourteen, I was about to enter high school, and what I really wanted was to join my high school band program and follow in my older siblings’ footsteps. In hindsight, it must have seemed like a naïve decision on my part for choosing to play the bassoon without any prior knowledge of the instrument, but I’m glad that the bassoon ended up being the right fit for me.

While I couldn’t say that it was love at first sight with the bassoon, I found it to be interesting and unique early on. As I continued learning and developing, the connection with the bassoon deepened. This may resonate with many other young musicians out there, but the bassoon became my outlet, my purpose, and my identity. As I immersed myself in orchestral music and playing in an orchestra, that’s when I fell in love with the instrument and developed a passion and drive to become a professional bassoonist one day. There is definitely an emotional connection when I put the bassoon in my hands. The instrument is my voice, and it continues to ground me to this day as I progress and develop as a musician.

As an alumna of Curtis, what do you believe is the school’s most enduring impact on your life and your development as a musician?
Curtis has left a significant imprint on my life. Curtis’s culture of “learn by doing” instilled in me the values of curiosity and the pursuit of the highest artistry. I learned not only to be a well-trained bassoonist but to be a well-informed musician. Being surrounded by incredible teachers and talented classmates during the most formative years of my life opened my eyes and my ears quite literally to all different perspectives of what can be musically possible. My studies at Curtis were truly impactful and life-changing, and for that, I am eternally grateful.

When you graduated from Curtis in 2015, what were your aspirations, and how have they changed or evolved over time?
Upon graduating from Curtis, my goal was to be principal bassoon of a major U.S. orchestra. When I graduated, I had trial weeks lined up for associate principal bassoon with the Toronto Symphony Orchestra. I was fortunate to win that position a couple of weeks later, and I played with the TSO for one and a half seasons. When the principal bassoon position opened up in Milwaukee during my second season in Toronto, I took that and won it. Now, seven seasons later at the MSO plus a pandemic, my aspirations continue to evolve. My dreams started out small, but with consistent efforts every day, I was able to create a website, form an LLC, start a reed-making business, release my solo debut album, and I now currently teach at the University of Wisconsin-Milwaukee.

On January 31, 2023, you released your debut album, Bassoon Soirée: From Latin America to Paris, with pianist Eduard Laurel. How did this collaboration arise, and what led you to curate this diverse collection of works?
If you had asked me five years ago if I would be releasing my first album, I probably would have laughed. I never really anticipated recording an album, but when the world went into lockdown in March 2020, the disruption caused by COVID-19 was real for musicians, and it really made me reflect on my love for music. It showed me how lucky and what a privilege it was for me to be able to play music week in and week out. But it also showed the fragility of what I do. As I dealt professionally and emotionally with the pandemic early on, I decided that I wanted to attempt to stay positive by focusing on how I could continue to engage and emerge from this tough environment as a better musician.

I am an extremely goal-oriented person, and this was my goal to put my stake in the ground as a reminder of my love for music and my passion for the bassoon in a way that nothing could ever take it from me again. No pandemic is going to take away my album. I hope to look about thirty, fifty, to a hundred years from now and have many more albums, but also remind myself of the strength, the courage, and the discipline to take an idea and turn it into a reality. It was not just me. I had many friends and colleagues who helped me along the way. I have made mistakes along the way. I was not perfect. This was not easy, but I am very proud that I am at this point and that I get to share this with all of you.

Catherine Van Handel’s debut album is available for purchase HERE and through Apple Music HERE.

Listen to Bassoon Soirée: From Latin America to Paris on Spotify HERE.

As a devoted advocate for the arts, principal bassoon of the Milwaukee Symphony Orchestra, and adjunct professor of bassoon at the University of Wisconsin-Milwaukee, you are busy inspiring the next generation of classical musicians and helping them fulfill their potential. What do you hope your lasting impact will be as an artist and educator?
I hope to continue to move and inspire people with my music and share my love and passion for the bassoon throughout my career. I want to be the best ambassador I can be for classical music and for the bassoon and make a positive impact to the people around me.

What are the most challenging aspects of playing this instrument and forging a career as a bassoonist?
The bassoon is an extremely challenging instrument to play. It is the only other instrument besides the piano that requires all ten fingers. Fun fact: there are nine keys just for the left thumb! For almost every note on the bassoon, there are multiple alternate fingerings for it. For example, there are six or more fingerings for an F-sharp above middle C. It is up to the player to determine which fingerings to use depending on the mood and context of the piece he/she is playing. On top of that, another huge part of playing the bassoon is mastering the art of reed-making. Reed-making is a lifelong process.

Are there any future projects or collaborations you are interested in pursuing?
Absolutely! I would love to continue building my discography collection. I learned so much about myself throughout the recording process when I did my first album, and I hope to continually improve with each recording project I do. I have many ideas, one of which is to perhaps record solo bassoon works with a chamber orchestra. Additionally, I am passionate about celebrating female Asian composers and would like to commission new works and record an entire album of just that. I am also interested in collaborating with other artists and possibly recording a few chamber music albums, as well. At the moment, there are no big projects on the horizon, but I am excited about what the future may hold. If you’re interested in collaborating, please do not hesitate to reach out via the contact form at catherinevanhandel.com/contact.

What advice do you have for current Curtis students and recent alumni?
Everybody has their own path. What I have learned on my personal journey is to trust my instincts, to fully embrace what makes me different, and to not let how others may perceive me dictate who I am. Identify what you want, figure out how to get there, and stay consistent and true to yourself.

Visit Catherine Van Handel’s official website HERE.

Photos of Mrs. Van Handel by Jennifer Brindley.