Váradi Júlia: A journalist from The Spectator recently wrote that if he could only listen to one bassoonist for the rest of his life, it would be you. That’s high praise, something rarely said about musicians in the international press. Both critics and audiences alike hold you in the highest regard. How did this profound connection with the bassoon and with music begin? (Naturally, it is well known that you come from a family of exceptional musical talent.)

Bence Bogányi: Recognition is always gratifying, especially when it acknowledges not only my role as part of an ensemble but also my individuality as an artist. When The Spectator journalist paid me that compliment, we were on tour with the Budapest Festival Orchestra, performing Stravinsky. Stravinsky loved the bassoon and gave it significant roles in many of his compositions. A compliment like that always gives an artist new momentum.

I often say that the bassoon "chose me" when I was nine years old. It was love at first sight, and that love has lasted to this day. In my mind, it is the most beautiful instrument in the world, there’s no doubt about it. It captivates me not only with its appearance but also with its sound. Though rarely in the spotlight, it’s an incredibly expressive instrument: as a deep-toned woodwind, it has a particularly singing and sensitive voice that easily touches the audience.

V. J.: How did it happen that you started studying bassoon seriously in Helsinki?

B. B.: I consider myself incredibly fortunate to have been exposed to multiple cultures. Although I was born in Hungary, my family’s work took us abroad, and we settled in Helsinki. That’s where I first began studying the bassoon. Later, my own interests took me further, mainly to Scandinavian countries, where I was able to explore different musical cultures and traditions. This connection has been a tremendous advantage throughout my studies and professional career, and it remains so to this day. I see it as an enormous gift because I was able to absorb many different styles, traditions, and interpretative methods, all of which continue to benefit me greatly.

V. J.: You are a well-known figure in both Scandinavian and German musical circles. You’ve performed at virtually every major venue, taught masterclasses, led orchestral sections, and earned widespread acclaim.

B. B.: Perhaps this is because I never followed the trends that seem to dominate the modern classical music scene. Today, many musicians strive to push the boundaries, competing to play faster or louder, than their peers. For me, that kind of race was never appealing. Excellence has always been my foremost priority. I suspect that this commitment to quality, along with my pursuit of perfection and an obsessive dedication to my craft, resonated with audiences in Scandinavia and Germany alike.

V. J.: When did you first connect with the Budapest Festival Orchestra? And what is it like to perform with them?

B. B.: It has been a privilege to collaborate with some of the world’s leading orchestras. These experiences have been more than just professional milestones; they have profoundly enriched me on a spiritual level as well.

I was playing with the Konzerthaus Orchestra in Berlin when I met Iván Fischer, under whose direction I had the chance to perform. This collaboration eventually led to Iván inviting me to the BFO, for which I am incredibly grateful. Since then, I have been a regular guest performer with the orchestra, and each time I take the stage with them, it feels like coming home.

V. J.: At the upcoming concerts of the Concertino series, you will be performing as a soloist in Jean Françaix's rarely heard concerto. What should we know about this colorful piece and its composer?

B. B.: This concert is a special experience for me because I get to take the stage as a soloist. Even though I am physically only a few steps ahead of the orchestra, that small distance holds immense significance, it places a completely different role on my shoulders compared to when I play as part of the ensemble.

This concerto is one of Jean Françaix’s most delightful and playful works, built on jazz-inspired elements, which makes it particularly exciting for me. Françaix was an incredibly modern and fascinating composer, and every time I perform his works, I discover new details. For this concert, I will be accompanied by a chamber string ensemble consisting of just eleven musicians. Each player has a distinct part, which, in a way, makes everyone a bit of a soloist. Although we have worked together for a long time, there is no guaranteed formula for what makes a performance truly great. The energy of the night, the chemistry on stage, and the connection with the audience all play a decisive role.

Of course, meticulous preparation precedes the concert, but the performance always unfolds differently. The interaction with the audience is always a thrilling challenge. It is up to us as musicians to carve new paths, finding unique ways to engage listeners, knowing that the magic of the evening is something that can never be fully predicted in advance.