Backstage with Simon Estell – Principal Contrabassoon

Mon 28 Sep, 2026

Simon Estell has been Principal Contrabassoon of the London Philharmonic Orchestra since 2002. We chatted to him about his musical journey, life in the LPO, and his instrument’s unique role in the orchestra.

How did your musical journey begin, and what first drew you to the bassoon?

I started playing the bassoon when I was seven, as a natural progression from the recorder. There happened to be one available at my school, and I loved its rich, deep sound from the start. One of my earliest musical memories is playing in the concert band at my school in Harrogate, alongside my two brothers on horn and oboe. Music was a big part of family life – my dad was a flautist and conductor, and although my mum still sings in a choir to this day, she never took up the clarinet, so we remained one player short of a wind quintet! The local schools’ orchestra was my next musical adventure. As a teenager, it was amazing to perform huge pieces like Tchaikovsky’s Sixth Symphony.

And how did you end up specialising in the contrabassoon?

My first proper encounter with the contrabassoon was while studying at the Royal Academy of Music. As part of the course, we were encouraged to play the ‘extended’ orchestral instruments, and at first I wasn’t especially drawn to it. But I soon realised how important the instrument is in the orchestra, and once I started, I never looked back. It opened doors that wouldn’t otherwise have been available and led quite quickly to regular orchestral work.

For those who may never have seen one up close, what exactly is a contrabassoon, and what role does it play in the orchestra?

The contrabassoon is the bass voice of the wind section, sounding an octave lower than the bassoon. It has around 16 feet of wooden and metal tubing, cleverly shaped to make such a large instrument playable. Its orchestral role is all about depth and colour. Sitting right at the bottom of the orchestra alongside the double basses and tuba, the contrabassoon can darken, broaden and intensify the overall sound. Remove it and you’d definitely notice! I love the challenge of creating a ‘bed of sound’ that the rest of the orchestra can build on.

You’ve been the London Philharmonic Orchestra’s Principal Contrabassoon since 2002. What has kept the role fresh and exciting over more than two decades?

Every programme brings something different. Discovering a new piece is always exciting, while returning to a familiar work is just as rewarding because every performance brings a fresh interpretation. The Orchestra itself is constantly evolving, too. In more than 20 years, I’ve played with four different formations of the bassoon section, each with its own personality. The goal is always the same, but the chemistry is always changing. I’m 53 now, and it’s been a privilege to see so many talented young musicians join the Orchestra while also playing alongside colleagues who have given decades of service. There is so much talent around, and it’s a testament to the outstanding teaching and training these young musicians receive, both here in the UK and around the world.

Are there any particular pieces in the orchestral repertoire that give the contrabassoon a chance to shine?

My favourites are generally the bigger pieces: Strauss, Shostakovich, Mahler and Ravel are all notable for exciting contrabassoon writing. In Mahler and Shostakovich, we’re often let off the leash with powerful, busy lines alongside the low strings and brass. Ravel, perhaps, writes some of the most notable solos, especially in his Piano Concerto for the Left Hand, where the contrabassoon sets the scene with a very low solo at the very beginning. I love that moment – the sense of loneliness, and the adrenaline it brings. Next season I’m really looking forward to Strauss’s Ein Heldenleben on 18 November and Shostakovich’s Tenth Symphony on 17 February, as well as Tchaikovsky’s Manfred Symphony (21 October), in which I’ll actually play third bassoon rather than contra. This is an important part of the job – playing bassoon when needed, and doubling (playing both bassoon and contra in a single piece) where necessary. I’m often seen putting one down and grabbing the other in lightning-fast time!

What might surprise people about life in a professional orchestra?

It’s not always glamorous! Touring sounds great, but the travel and jetlag can be brutal. Five-hour coach journeys often leave little time to rest or eat, so we often end up snacking on the move and then eating properly after the concert, only to face another long journey. We find ways to get by, however. Sleep or cribbage cannot be underestimated!

Another thing that might be surprising is the preparation required to keep us and our instruments ‘match fit’. As a double reed player, we’re constantly working at finding the right setup with reeds. The reed is the small piece of cane at the top of the instrument that vibrates to produce sound, and unlike other instruments, it isn’t fixed – we make and adjust them ourselves. It’s a bit of a bugbear, but a necessity. We spend a lot of time making them and trying to perfect them ready for rehearsals and concerts. There’s no greater feeling than a good reed. It extends your voice, and knowing what will happen when you approach music is the ultimate joy. With a bad one, that mood changes drastically. The margins are very narrow.

And finally, if the contrabassoon had a personality, how would you describe it in three words?

Deep, dark and comical!

This interview originally appeared in the Autumn 2026 issue of the London Philharmonic Orchestra’s twice-yearly magazine, Tune In. Read the full issue here.