Musician’s Musing – March 2018

This month’s Musician’s Musings was written by BSO first violinist, Jessica Cheng who shares her experience with the Minnesota Orchestra Fantasy Camp.

The Major Leagues – A Fantasy Camp Experience, Part II

Fantasy Camp with the Minnesota Orchestra was an incredible experience. I had no clue what I was getting myself into. All I knew is that my friend, Cynthia, expressed interest in participating, and she managed to sucker me into doing it as well. I had initial doubts if this was going to be worth my time since I had to take time off of work. But as I look back on the two days that I spent in Orchestra Hall, I can confidently say that the time was well spent.


Some highlights from the Minnesota Orchestra Fantasy Camp:

– I had the privilege of sitting next to Rui Du, the assistant concertmaster. I was extremely humbled (and intimidated!) by his talent, but the best part about sitting next to him was getting to know him outside of his profession. We talked about our Asian backgrounds, our families, and how this event was something that he also enjoyed. We also talked about how we are both transplants to Minneapolis and the associated challenges that transplants often face. This ability to empathize with similar issues made me realize that I, Jo Schmoe with a corporate job, am actually not that different from a professional musician.

– The orchestra knows how to have fun. I remembered mentally preparing myself to be as professional and serious as possible on stage, especially in front of Osmo. But my nerves quickly faded away when I saw everybody smiling and joking around, including Osmo. You could truly tell that these musicians loved playing together. And there’s definitely some ‘class clowns’ in the orchestra (e.g. viola section, Peter McGuire, dare I also include Michael Sutton?)

– I am proud of the musicians that the Bloomington Symphony brings together. We are a talented bunch. I was taken by surprise after the second rehearsal when Jonathan Magness, second violin, and I were chatting and he told me that I sounded great! I was thinking, “who? Me?!” The compliment has since resonated with me, so Jonathan, if you’re reading this– thank you. That meant so much to me.

– If you have never played at Orchestra Hall, you absolutely have to. The acoustics are out of this world. The ability to play in such a beautiful and pleasing space was worth every penny.

– And last but not least, the highlight of the entire experience was the standing ovation from a completely sold out concert. We struck our last chord of Berlioz’s Roman Carnival Overture, and the roar of clapping and whistles was overwhelming. As I looked out, I saw a row of my closest friends and colleagues, and my heart was filled with so much joy. In that moment, I realized that I had just played with the Minnesota Orchestra, and I was so happy that I was able to share that moment with the people who are so important to my Minneapolis community.

I thank the Minnesota Orchestra, Sarah Hicks, Osmo Vanska, and my fellow amateur musician friends for making the Fantasy Camp so fun. I am honored and humbled to have had the opportunity to play with some of the best musicians in the world in an incredible venue, and I look forward to doing it again!


Live Performance of “Nimrod” from Enigma Variations

The Bloomington Symphony Orchestra with Manny Laureano, Music Director and Conductor, performs “Nimrod” from Edward Elgar’s Enigma Variations on Sunday, February 25, 2018 at the Masonic Heritage Center in Bloomington, Minnesota.


“Stories and Enigmas” :: Concert Preview No. 2

Before each concert, we share “Manny’s Musings,” thoughts from our Music Director and Conductor, Manny Laureano. This is the first edition of the “Musings” for the “Stories and Enigmas” concert that will be performed on Sunday, February 25, 2018.

Camille Saint-Saens, composer

Relationships formed through music often turn out to be ones that are the motivation for great works and smaller, flashier works that also invite a look into the characteristics of a performer. “I like this about you and I’m going to exploit those things you do well in a piece I want to write for you.” I would imagine initial conversations about a proposed work go along those lines. Brahms had Joachim and Camille Saint Saëns (1835-1921) had Pablo de Sarasate whose virtuosity was a standard during the day.

Sarasate was a true musical prodigy with an ability to perform that were unquestionable beyond his years. Born among the bull bull runners of Pamplona, his father saw to it that he would begin his music studies early. Great musicians tend to meet over the course of their lives and the friendship that ensued between the two artists brought forth several larger works including two of Saint Saëns’ concerto and the very popular “Introduction and Rondo Capriccioso.” The work is predominantly in A minor with a cheerful nod to a lighter dance-like section in C major that is clearly an acknowledgement to the Spanish heritage of his premiering soloist. In fact, the entire piece has that Moorish quality that may take us away from the usually bitter cold of our local weather and take us to sunnier climes!

Enjoy this preview of Michael rehearsing with the Bloomington Symphony – Manny Laureano, conductor

Join Music Director & Conductor Manny Laureano, for the concert, “Stories and Enigmas featuring Michael Sutton, violin, and Gary Briggle, narrator. The concert takes place on Sunday, February 25, 2018, at 3 p.m., at the Gideon S. Ives Auditorium at the Masonic Heritage Center (11411 Masonic Home Drive, Bloomington)

To learn more about the concert, click here. You can order tickets online through the Masonic Heritage Center Box Office, or by calling 800.514.ETIX.


Musician’s Musing – February 2018

This month’s Musician’s Musings was written by BSO Principal Percussionist, Paul Madore.


From Jazz to Classical


As far back as I can remember, I’ve always loved music. So much so that my earliest childhood memories center on drums, phonograph records, or a combination of the two. I distinctly remember pounding away on a Quaker Oats oatmeal canister, trying to play along with the calypso rhythms I heard as “Belafonte Sings of the Caribbean” spun around on our RCA “suitable for mono” portable record player. (Yes, I realize I’m showing my age here.)

Before I was old enough to read, I could go through my parents’ LP collection and pick out whatever they requested, much to my mother’s delight and bewilderment.

From there, it was a short leap from just listening to music to wanting to learn how to actually play it, and I begged my parents to let me take drum lessons. My mother spoke with a local drum instructor who advised her to wait until I reached the ripe old age of seven before making that commitment.

When my seventh birthday finally arrived, my parents could no longer delay the inevitable and told me I could start my drum lessons. I was so excited! I still remember my first lesson with Mr. Riccardo. He had a music studio set up in the finished basement of his house. As I walked down the stairs, I peered up at the photos on the wall of his trio playing at the “Marco Polo”, a local Italian restaurant that featured live music.

At the foot of the stairs was the main area of the basement, and as I rounded the corner, an alcove transformed itself into a musical Valhalla, with a piano, a stereo, and most importantly, a real set of 4-piece Slingerlands in blue sparkle finish! I had never seen a real drum set before, and was surprised to find a foot pedal behind the bass drum. Having previously only seen pictures of a drum set photographed from the front, I had somehow imagined that the bass drum’s only purpose was to support the small tom-tom and ride cymbal. Clearly I had much to learn…

Fast-forward to 6th grade, and I by now I was playing in a real rock and roll band! The original band name was “Mantissa”, which is some mathematical term that I’m still unfamiliar with. We quickly opted for the easier-to-understand and more picturesque “Red Moon”. We were a power trio of sorts, and did covers of classics like “Honky Tonk Women” and “Smoke on the Water”, along with some half-baked instrumental originals with inscrutable titles like “Japan” and “Corn Kernels”.  I felt super-cool, because the other 2 guys were in high school, and here I was with them playing at high school dances that I would have been too young to attend, had I not been one of the performers on stage.

As I grew older, my musical tastes became more refined, and in addition to playing in the school concert band and jazz band, I enjoyed listening to jazz and funk, and tried to emulate the style of my favorite drummers. I was a big fan of that outdated musical hybrid term “Jazz/Rock”, and I immersed myself in the crisp drumming styles of Bobby Colomby (“Blood, Sweat and Tears”) and Danny Seraphine (“Chicago”).

When I was 15, I auditioned for and won a spot in the percussion section with “America’s Youth In Concert”, a nation-wide concert band and choral group that played such venues as Carnegie Hall in New York and the bicentennial in Philadelphia, before embarking on a month-long tour of Europe.

After graduating from high school, I attended Berklee College of Music in Boston, where I studied jazz theory and jazz drumming, played in various big band ensembles and received my Bachelor of Music degree in performance.

While living in Boston, I lived the aspiring “musician’s life” of working a day job to pay the bills, and playing various gigs at night to fulfill my musical passion. That template remained more or less intact, even after moving to Minnesota during the great Halloween storm of 1991.

Since moving to Minnesota, I became more involved in classical music, performing with the Dakota Valley Symphony, while continuing to play in various horn-driven funk/R & B bands, such as “Down Right Tight” and “Under Suspicion” and jazz bands such as “The Stan Bann Big Band” and “Beasley’s Big Band”.

My first experience performing with the BSO was back in 2003, when I was hired as an extra to play triangle and tam-tam in Mahler’s Second Symphony, “The Resurrection”. I was very impressed by the high level of musicianship of the players, and completely blown away by the magnitude of this magnificent work! Having at the time only a limited familiarity of Mahler’s music, I eagerly began exploring his other works and today consider Mahler one of my all-time favorite composers.

Around 2010 or so, I made the conscious decision to concentrate exclusively on performing orchestral music, primarily with the BSO, but also subbing with other orchestras, such as the Metropolitan Symphony Orchestra and Saint Paul Civic Symphony.

When approached about writing this edition of the Musician’s Musings, I was asked to write about my experiences moving from jazz to classical. I’ve always likened the idea of a musician playing different styles of music as akin to a skilled athlete playing different sports. Proficiency at one sport is no guarantee for success at another. And yet, there is a common ground that some people skilled in athletics share. The hand-eye coordination that is required in one game may present itself differently in another game’s execution, but that basic coordination will still be required in some shape or form.

It is the same in the world of music. Certainly there are common fundamental requirements in order to play the correct notes, sing the correct pitches, etc. Stylistically, though there can be many subtle and not-so-subtle differences. Each musical style presents its own inherent logic and set of rules with which a musician must be familiar, or risk sounding amateurish.

A good example of this is evident in Jazz music. When all the players are in sync rhythmically, the music is considered “swinging”. Jazz music is triplet-based, with a typical ride cymbal pattern driving the rhythm: quarter note, 1st & 3rd triplet, quarter note, 1st & 3rd triplet, etc. Though it’s played like triplets, this rhythm is often written as: quarter note, dotted 1/8th & 16th, quarter note, dotted 1/8th and 16th, etc.)

A common mistake for “legit” or classical musicians is to play this rhythm strictly as written, which sounds “square”, “unhip”, and definitely NOT swinging. In order to sound correctly, a certain creative license must be employed, which means the player must not play exactly what is written on the page.

On the flip side of the coin is the seasoned jazz musician, who may know all the standard tunes in the repertoire by heart, or by reading off a lead sheet (a sort of musical shorthand that shows just the melody line and the chord changes), but may not have the sight-reading skills necessary if called upon to sub for a symphony orchestra. And all those European musical terms might feel like a foreign language, because they actually are!

Of course, there are many versatile musicians these days who can bridge both jazz and classical styles. Perhaps the most famous is Wynton Marsalis, whose trumpet virtuosity has extended into highly acclaimed recordings and performances in both sound worlds.

Since orchestral music can have limited percussion parts (or no percussion at all, in some cases), I sometimes get asked if I get tired of waiting to play, or having to “count so many bars of rests” before making an entrance. On the contrary. One of the great things about performing as part of an orchestra is that you get to listen and bask in the collective sound of the group as a whole. This is true even when you’re not playing, sometimes even more so. While I love playing a busy, challenging part and the “go-for-broke” spirit that goes with it, it can be equally enjoyable to just sit back and listen. In fact, I’d rather listen to music that moves me even if there is no percussion, than to play something I don’t connect with emotionally just for the sake of playing. I’ve always believed that to be a good musician, you must first be a good listener. I can think of no greater thrill than being on stage with the BSO when we’re making music at our highest level.


Musician’s Musing – January 2018

This month’s Musician’s Musings was written by BSO Principal Cellist and former Board President, Laurie Maiser.


The Major Leagues – A Fantasy Camp Experience

I’m a small-town Minnesota girl.  Born and raised in Austin, MN, it was a special event when we would have a school event to trek up to “The Cities” to see the Minnesota Orchestra.  As a student cellist, the MO was the brass ring – the incredible group of hometown professionals I daydreamed about being a part of someday.

But then 25 years passed, in which I switched from my Music major to Economics, worked in IT, married, and had kids.  The aspiration switched from performing at Orchestra Hall to just making time in a busy life to attend the concerts.  Then one day last spring I had three people send me the same email – the Minnesota Orchestra was hosting a Fantasy Camp

Fantasy Camp was a 2+ day event in July, culminating in a performance of Berloiz’s Roman Carnival Overture on stage in a side-by-side with the Minnesota Orchestra, under the direction of Osmo Vänskä.

I wrote about it a lot on social media, so when the BSO Board asked me to write a blog post about my experience and what I can bring from it back to BSO, I thought it would be easy.  No problem, I can do that in a week.  That was a couple of months ago.

Turns out, it was harder than I expected.

The experience was sublime, no doubt.  The performance flew by so quickly…. followed by rousing cheers and a standing ovation. The crowd was full of our “plants” – each camper got 10 comp tickets – but still, the crowd reaction was icing on the cake. Two thousand people cheered us on. The MO musicians smiled and congratulated us as we walked off the stage – they were gracious and classy at every turn.

But what did I learn?  What can I bring back to BSO?

There were little cello things I thought of right away – how I learned so much from sitting next to Tony Ross, principal cellist, and trying to mimic shift timing and bow articulation.  How well Osmo Vänskä can imitate the roar of a motorcycle.  How the cellists all stick their end pins right in the floor – and have metal files backstage to keep them dangerously sharp.  But most of you don’t care about that.  So I kept thinking.

I left that camp a changed musician, but why?  If it wasn’t the little things, then what were the big ones?  I think I needed some time to live with these changes to put them into words, but I finally found some.

Preparation, preparation, preparation.  Without doubt, the level of preparation of MO musicians is exemplary.  We were told when accepted into Camp that we needed to know that music when we arrived, and they weren’t kidding.  We had sectionals on our own, but our rehearsals with the MO musicians were little more than run-throughs.  When you walk on that hallowed stage, you are expected to have every note down.  How much would we all grow if we had that mindset whenever we played?  We are largely amateurs in BSO – we all have other commitments – but what if we all did our best to come into that first rehearsal performance-ready?  What if we could use those rehearsals to work on ensemble and musical expression, because the notes were already there?

Think like a conductor.  Sarah Hicks, Minnesota Orchestra’s principal conductor of Live at Orchestra Hall, did a seminar for us on The Art of Conducting.  She went through the preparation of a conductor– what they must think through, what decisions they must make – before they lead an orchestra.  This was truly eye-opening.  I always study recordings of our BSO repertoire, but am laser-focused on the cello line.  This inspired me to listen differently.  What else is going on?  Which line are we taking over?  Where do we fit in the context?  I hear music differently now than I did before, and even catch myself conducting in the car.

The orchestra is a family.  BSO’s own Concertmaster, Michael Sutton, was tasked with talking to the campers about what was loosely titled “Auditions.”  They couldn’t have put that job to anyone better suited.  We heard his personal story, asked a bunch of questions, and eventually through his candid and colorful storytelling heard some hysterical “inside jokes” of the orchestra that – more than anything all week – connected us to the MO in a personal way and made the “fantasy” come to life.  What can each of us do to bring that culture of professional respect, personal courtesy, and a playful sense of humor to our playing experiences?   How can we make coming to rehearsal a personal pleasure beyond the music?

Above and beyond all of this, however, I walked out with overwhelming gratitude for the Bloomington Symphony.  You see, unlike some of the other “campers” I met there, I did not leave camp wistfully wondering when I would get to play symphonic music again. I have an incredible opportunity every week to make music at a high level with truly wonderful people.  I can keep learning under the inspiring leadership of Manny Laureano and Michael Sutton – who through their examples make every rehearsal like our own mini Fantasy Camp.  I’ve always been proud and grateful to be part of the Bloomington Symphony, but never more so than now.  Like any incredible vacation, Fantasy Camp was a tremendous thrill to experience.  However, at the journey’s end… there’s no place like home.


Musician’s Musing – December 2017

This month’s Musician’s Musings was written by BSO Principal Bassist, Chuck Kreitzer.

Chuck Kreitzer, Principal Bassist


Hello, my name is Charles Kreitzer although I prefer to be addressed as “Chuck”.  I was most happy to contribute to the musician’s musings when asked by Sara Tan, I am a returning bassist this year with the Bloomington Symphony Orchestra as I played a couple of seasons previously in the late 1990’s when Bill Jones was the conductor.  I was born into a musical family; both of my parents were public school music teachers in Sioux Falls, SD, my father was a bassist and my mother a cellist.  All of my 5 siblings also are practicing musicians in one genre or another.  I remember as a child that my friends were a bit jealous in that I always knew what I was going to be as an adult: a musician.

My first experience with music was learning the piano at an early age.  When entering the 5th grade I began my journey learning the French Horn.  I played the French Horn through college and was actually a French Horn major as a freshmen in college.  One day while I was attending the University of South Dakota the orchestra director found out I could play the bass a bit he recruited me to play bass in the orchestra.  Playing a stringed instrument in an orchestral setting was far more enjoyable than playing French Horn in a concert band setting (I no longer needed to worry about breath control nor my embouchure!).  Truly playing a wind / brass instrument is an internal experience whereas playing a stringed instrument is external.

I have a Bachelor of Fine Arts from the University of South Dakota (if you have never been to see the Shrine to Music, now known as the National Museum of Musical Instruments, you really should!) and then received a Masters of Music from the University of Colorado in Boulder.  Both degrees were in performance, I later finished my teaching certificate in 1984.  When I began teaching public school music in 1985 I was only planning on teaching no more than 5 years, my goal was to be playing in a professional orchestra by then.  But the years flew by and then I had a family, plans change.  I’ve very much enjoyed the past 33 years teaching public school orchestra but sometimes wonder what life would have been like if I had made it into a professional orchestra?   I have auditioned for the Phoenix, San Diego, Denver, Omaha, Minnesota Orchestras to name a few…

As most of you know, when you show up for an audition there’s well over 100 other fine musicians trying for that coveted spot.  At my “seasoned” age I’m thankful that I still have the opportunity to actively participate as a musician rather than just a consumer of music.  For me, music is an aspect of my life that will never fail me, I feel very fortunate that I’m in a profession where I get to teach young people the joys of making music, and hopefully it will become an important aspect of their lives too.  When my mother developed dementia, when she could no longer communicate verbally she could still play the piano without missing a note.   I’m thankful for once again being a member of the Bloomington Symphony Orchestra, thank you!


In memoriam: Jennifer Werner, BSO Substitute Trombone

If you attended one of the BSO concerts in 2016-17, you had a 75% chance of hearing Jennifer Werner play as a substitute bass trombonist. She was our “first call” sub for that chair (for many years, not just 2016-17!), and an immensely talented and capable player. As a bonus, she was the wife of the BSO’s tuba player, Michael Werner, and their chemistry as players and spouses was obvious to anyone who saw them interact onstage and off.

Following is the obituary written by Jennifer’s sister, Stephanie Sheldon. Our thoughts our with Jennifer’s family, her husband Mike, and all of the friends and musicians whose lives she impacted through her too brief but shining life.

Jennifer Werner, Bass Trombone
Photo credit: Leslie Plesser/Shuttersmack

Jennifer Werner passed away peacefully in the comfort of her own home, surrounded by family, on September 13th, 2017 at the age of 29. She lost an unfair battle against a rare and aggressive cancer, NUT Midline Carcinoma (NMC), after being diagnosed just a short 1 month and 10 days prior.

Jennifer’s passion resided in the arts. She attended the University of Minnesota Twin Cities and received her Bachelors of Arts in Music Therapy. Alongside working full time, she gigged with jazz bands including the Adam Meckler Orchestra, and played in classical ensembles including the Encore Wind Ensemble. People who have had the honor of playing with her or have listened to her play, know that she could slay a bass trombone part in a rockin’ jazz tune then turn around and create beautiful classical music as part of an orchestra. She possessed a musical talent that we all could appreciate, and quite frankly, be jealous of.

As much as music was a part of her life, her attributes far exceeded her musical talent. She was a wife, a daughter, a sister, a dog mother, a colleague, an aquascaper, a remodeler, a liberal advocate, and a friend to so many. Her personality, sense of humor, opinions, drive, and thoughtfulness will be greatly missed as we are left here to comprehend the loss of a truly beautiful person.

To honor Jennifer, celebrate her life, and help others that are fighting this impossible battle against NMC, our family is holding a benefit/memorial service open to all friends and family on Saturday September 23rd, 2017 from 12pm-3pm at the McColl Pond ELC in Savage, MN. This will be in place of funeral services, as Jennifer has selflessly donated herself to the University of Minnesota for research on this rare cancer. Jennifer’s musical colleagues and her husband will be providing live music for the event. The proceeds from CD sales from the Adam Meckler Orchestra and money that is donated will be given to the NMC Registry Research Fund out of the Dana Farber Cancer Institute in Boston, MA. Our family will then donate all proceeds on what would have been Jennifer’s 30th birthday, 9/27/17.

For more information on the Memorial Service, please check out Jennifer’s CaringBridge site.


Audition Date Scheduled

The Bloomington Symphony will hold auditions for Principal Trumpet and Percussion on Sunday, May 21. If you are interested in either of these positions, please send an email to for more information.

We will have a string audition date announcement shortly. We will be holding auditions for all string sections including leadership chairs in the first and second violins, violas and bass. We encourage all players to submit a video at your earliest convenience to be included in the early summer audition date.

All successful candidates will be invited to join the Bloomington Symphony at the Arts in the Park concert on Thursday, August 10 (rehearsals will begin on August 3).

The Bloomington Symphony Orchestra performs at Arts in the Park, August 2016


Musician’s Musing – February 2017

Karen Nordstrom, former BSO cellist and current concert sponsor

This month’s Musician’s Musings was written by former BSO cellist and current concert sponsor, Karen Nordstrom. Karen and her husband Dr. Leonard (Bud) Nordstrom, have been longtime chair sponsors. They recently decided to sponsor a concert and their first recognition as concert sponsors will come in April 2017. We asked Karen to share a few words of experience and this is what she wrote. 

From the time I was a very young girl growing up in Milwaukee, music was a big part of my life. My mother played the piano. Mom and Dad sang with the Arians, a great Milwaukee choir. I sang with the Junior Arians. Mom began encouraging me to play piano at a young age and taught me where middle C was on our piano. When our church organist, Elfrieda Winninger, asked me at church one Sunday where middle C was, I said it was at home. Well, they decided to wait a bit with piano lessons. Mrs. Winninger would one day be my piano teacher for 7 years.

Mom and I attended Milwaukee Symphony concerts, sitting very close to the front in my warm blanket coat and sometimes nodding off, but still listening. I had two much older sisters, Gloria and Joyce, who as young girls played cello and violin, respectively. However, before I reached the age of having memory, those girls were off to college and I never did hear them play their instruments. One day I decided to try the violin. It was a more manageable size. That wasn’t for me. So at age 11, I chose Gloria’s cello, taking lessons, and loving it—my mellow cello. It was an easier instrument to play, by far, than the violin.

As a youth, I participated in our high school orchestra as well as CAP, Children’s Art Program, in greater Milwaukee, an orchestra that met down at the War Memorial building on the shore of Lake Michigan. Those were very enjoyable years and cemented friendships that carry through to this day.

Off to St Olaf College in 1959, and packing my cello, I auditioned for the St Olaf Orchestra and made it! As a nursing student, it perhaps wasn’t a wise thing to do, as with the tough science courses plus all the rest, I should’ve been studying more. When for a brief time I was “on probation” due to grades, it was suggested I perhaps quit the orchestra freshman year, I declined that suggestion, and just buckled down a bit more. WHEW! I made it through.

After graduation in 1963, I took a few years off from even thinking about joining an orchestra. Working 40 hours a week as a pediatric nurse, I was too busy to manage the practicing required I would need to be in a good orchestra. In 1966, I tried out for the Minneapolis Civic and played with that group until 1987 when I joined BSO, playing until ulner neuropathy began in my fingering hand. The numbness, tingling, and reduced strength of that left hand caused me  to leave my beloved BSO several years ago. But I had played for almost 60 years and that was a good thing. Now my husband and I enjoy attending the concerts and seeing this great orchestra blossom and thrive. My cello awaits my 11 year old granddaughter who as a 5th grader here in Bloomington, decided on the cello. She is a third generation cellist, her dad being the second, and I am relishing passing mellow cello on to the next generation.

My husband, Bud, too feels that this is a priority with our giving to our beloved Bloomington Symphony Orchestra, one of the crown jewels, which makes this city great!

Thank you, Karen and Bud, for your faithful donations and concert attendance! To learn more about how you can support the BSO’s efforts – no matter the level – visit the Support page on this website.


Give to the Max 2016 – Michael Sutton

Hear from the Bloomington Symphony’s Concertmaster Michael Sutton!

Then, Give to the Max here!