Martin Kuuskmann – The Estonian Bassoon Virtuoso Making Waves in America

Kuuskmann has redefined what a bassoon soloist can achieve on the world stage. A multiple Grammy-nominated recording artist and passionate educator, he bridges the cultural gap between his Baltic roots and his American home, captivating audiences who never imagined a bassoon could command center stage.

From Tallinn to New York: Early Life and Musical Roots

Born in Tallinn in 1971 during the Soviet era, Kuuskmann came of age just as Estonia regained its independence. He began his musical journey on piano and clarinet but fatefully picked up the bassoon at age 15, drawn to its versatile low voice. After graduating from Tallinn Music High School, he earned full scholarships to New York’s Manhattan School of Music and later Yale School of Music, where he honed his craft under legendary bassoon mentors Stephen Maxym and Frank Morelli. This trans‑atlantic leap in the early 1990s set the stage for Kuuskmann’s remarkable career in the United States. “It’s always good to be back home in Estonia,” he admits after 32 years abroad, but his journey from a small Baltic nation to America’s top music institutions imbued his artistry with a unique cross‑cultural perspective.

Carving Out a Trailblazing Solo Career

Kuuskmann belongs to the rare breed of bassoonists who step out of the orchestra’s back row and into the spotlight. Armed with a commanding stage presence and “stunning” virtuosity, he became a tour de force on his instrument. Early on, he co‑founded New York City’s avant‑garde Absolute Ensemble (led by Kristjan Järvi) as its solo bassoonist and freelanced with renowned groups like the Orpheus Chamber Orchestra and New Jersey Symphony. By the 2000s Kuuskmann was headlining concert halls around the globe as a concerto soloist.

He has appeared with leading ensembles such as the Estonian National Symphony Orchestra, Orchestre de la Suisse Romande, the MDR Leipzig Radio Symphony, and the American Composers Orchestra, under star conductors like Neeme and Paavo Järvi. From Carnegie Hall in New York to the Kennedy Center in Washington, D.C., to major venues in Europe and Asia, his bassoon’s rich voice has enthralled audiences worldwide.

One of Kuuskmann’s hallmarks is pushing boundaries for his instrument. Thirteen bassoon concertos have now been written expressly for him—an unprecedented tally—including works by Estonian giants Erkki‑Sven Tüür, Eino Tamberg, and Tõnu Kõrvits, as well as Americans Christopher Theofanidis and David Chesky. Most recently, Estonian‑American composer Lembit Beecher unveiled a new concerto in 2024 that Kuuskmann will record with the Grammy‑winning chamber orchestra A Far Cry in April 2025.

In 2008 the New York Philharmonic invited him to perform Luciano Berio’s notoriously demanding Sequenza XII for solo bassoon; his feat of “virtuoso technique with super‑human breath control” left critics in awe. And perhaps no piece shows his flair better than Michael Daugherty’s whimsical concerto Dead Elvis: Kuuskmann has performed this rock‑and‑roll‑inspired piece—complete with Elvis costume—nearly 50 times worldwide, earning a German Record Critics’ Prize for its 2001 recording.

Career Highlights

• Grammy Recognitions: Multiple nominations, including a 2007 nod for Chesky’s Bassoon Concerto and a 2017 nomination for Theofanidis’ concerto written for him.
• Champion of New Music: Premiered 13 major concertos, most recently Lembit Beecher’s 2024 work, expanding the bassoon repertoire like no one before.
• Critical Acclaim: The International Double Reed Society extols his “remarkable technique… you‑name‑it, he does it all,” confirming his impact on the double‑reed world.

Beyond Classical: Versatility and Creative Collaboration

Firmly rooted in classical tradition, Kuuskmann is an artist without borders. Jazz icon John Patitucci composed a soulful Caprice for him; he has jammed with legends like Joe Zawinul and Gerry Mulligan, proving that a bassoon can swing. He explored Brazilian grooves with pianist Jovino Santos Neto and fused Tibetan chant with electronics on the album The Path of Mantra.

A beloved anecdote underscores his stature: in 2010, Estonia’s most celebrated composer Arvo Pärt personally sat in the Estonia Radio control room to remaster Kuuskmann’s track of “Spiegel im Spiegel,” insisting the bassoon be brought forward in the mix. “Makes a great story every time,” Kuuskmann laughs.

Whether amplifying avant‑garde scores or intimate chamber pieces, he “transcends the boundaries” of classical bassoon by emphasizing a human, vocal expressiveness. In his hands, the bassoon sings any musical language.

Mentor, Professor, and Cultural Ambassador

Kuuskmann began teaching in the late 1990s in New York (Mannes, Manhattan School of Music) and later joined the faculty of Cornish College of the Arts in Seattle. Today, he is Associate Professor of Bassoon at the University of Denver’s Lamont School of Music, attracting students eager to absorb his boundary‑pushing philosophy.

He bridges Estonia and the U.S. as principal bassoonist of the Estonian Festival Orchestra under Paavo Järvi, woodwind coach for the Baltic Sea Philharmonic, and through frequent festival appearances back home. In 2021, Icelandic composer Bára Gísladóttir wrote PLAY—a concerto inspired by his life story. In 2022 he became the first‑ever Artist‑in‑Residence of the Tucson Symphony Orchestra.

Despite decades abroad, Kuuskmann remains proudly connected to his roots. Premiering Tõnu Kõrvits’s new work in 2023, he admitted: “It’s always good to be back home in Estonia.” It was a full‑circle moment for an artist who has journeyed so far.

Legacy of a Northern Virtuoso

At 54, Martin Kuuskmann stands at the pinnacle of a singular career. He has shattered preconceptions about the bassoon, proving that this mellow woodwind can dazzle and inspire across continents. Whether in tails at Carnegie Hall or decked out as Elvis, Kuuskmann brings passion, humor, and humanity to his music.

For Baltic‑Nordic creative communities—and listeners new to classical music—his artistry offers a thrilling discovery. The voice of a small nation, sounding through a bassoon’s bell, now resonates worldwide with remarkable power and originality. In the hands of this Estonian virtuoso, the bassoon truly sings with a northern voice that will not soon be forgotten.