Announcing the Bloomington Symphony Orchestra’s 2019-20 Concert Season

Music Director Manny Laureano has put together a season of concerts for the BSO’s 57th season that continue the BSO’s tradition of performing challenging, educational, and outstanding orchestral music for audiences and musicians alike. There will be old friends, and new music, Four by Four, Colorful Russian Music, and Mahler’s Fifth. Check each of the pages on our website to learn about all of the programs.

On the day of our 2019-20 season announcement, we encourage you to reserve the best seats in the house by ordering today! Instead of a season ticket, the BSO offers a flex ticket which offers the same discount and offers more flexibility for people who snowbird or want to take advantage of the discount for an individual concert. Flex Tickets are $13 for Adults and $10 for Seniors (62+). Purchase in a group of four or more for any concert, in any category and take advantage of this great price! Students are always free with an ID, but seats are reserved, so order those early to guarantee a seat!

Comment below with the concert or piece you are most looking forward to hearing the BSO perform in 2019-20!

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Music in 3D: #6 :: Concert Preview 3 of 3


Symphony No. 5 in D minor, Op. 47
Dmitri Shostakovich

Before each concert, we share “Manny’s Musings,” thoughts from our Music Director and Conductor, Manny Laureano. This is the final edition of the “Musings” for the “Music in 3D: #6” concert that will be performed on Sunday, May 5, 2019.

Continued from Part I

As it happened, Josef Stalin, the brutal dictator of the Soviet Union, would attend certain musical events and managed to find himself at a performance of Lady Macbeth. His reactions during the performance were clear and seen by all in attendance. They were not good and Stalin made sure Shostakovich knew it. He directed an article to be written in Pravda (ironically, that translates to “Truth“) the state organ of news and comment, called “Chaos Instead of Music.” Within days, one of Shostakovich’s new ballets, Bright Stream, also came under heavy criticism. Shostakovich was crushed. So much so, that he canceled the premiere of his freshly-written Fourth Symphony while he figured out a way to keep from being sent to a gulag or, worse yet, “disappearing.” He was now a “target.” Thus, did Shostakovitch write what came to be known by some as a musical apology, his Fifth Symphony? He was now fearful. Was this the real Shostakovich?

With the above as your backdrop, this D Minor Symphony begs to be listened to with fresh ears. The jagged argument that opens the first movement is serious, because it is a display of conflict that settles into meditative thought. Does one go this way or that? Does one satisfy the soul or the desire just to live? There are so many moments of sunlight that attempt to break through, that the first movement almost works as an extended introduction for the remaining three movements. The brass stomp through like an invading force, only to give way to a peaceful state of eternal questioning of the self. The scherzo is a paean to the composing style of Gustav Mahler, whose music was loved by Shostakovich. If there is a way to portray loneliness and the suffering it brings when relief is not in sight, the third movement does so with such tremendous pathos as to induce heartbreak or catharsis. You will decide, dear listener.

As for the finale, I can do no better than to leave you with the words of Shostakovich as quoted by the man who assisted with his memoirs, Solomon Volkov:

“I think it is clear to everyone what happens in the Fifth. The rejoicing is forced, created under threat, as in what happens in Boris Godunov. It’s as if someone were beating you with a stick and saying ‘Your business is rejoicing, your business is rejoicing,’ and you rise, shaky, and go marching off, muttering, ‘our business is rejoicing, our business is rejoicing.'”

Testimony by Solomon Volkov

Bloomington Symphony Orchestra
Manny Laureano, Music Director & Conductor
photo by Leslie Plesser

Join Music Director & Conductor Manny Laureano, for the concert, “Music in 3D: #6” featuring award-winning cellist Nygel Witherspoon soloist for the Cello Concerto. The concert takes place on Sunday, May 5, 2019, 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 952-948-6506.

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Music in 3D: #6 :: Concert Preview 2 of 3

Symphony No. 5 in D minor, Op. 47
Dmitri Shostakovich

Before each concert, we share “Manny’s Musings,” thoughts from our Music Director and Conductor, Manny Laureano. This is the second edition of the “Musings” for the “Music in 3D: #6” concert that will be performed on Sunday, May 5, 2019.


Dmitri Shostakovich, composer

It is always a dilemma to write about Dmitri Shostakovich, who was born in St. Petersburg in 1906 under the Tsarist rule of “Bloody” Nicholas II and who died in Moscow in 1975 under Soviet domination led by Leonid Brezhnev. In effect, baby Dmitri was born in a Russia that had suffered the violent conflict of a failed revolution against Nicholas II a year before. By the time he broached adolescence, a new future for Russia was on the horizon with new leaders and new problems. Somehow, a young and somewhat sickly—but prodigiously talented—boy would try to perform on the piano while developing his gift for composition. The dilemma comes in trying to know who the real Dmitri Shostakovich is.

His musical parents gave him what he needed, to attend the Conservatory in what was renamed Petrograd, at the age of 13. He studied piano with a vengeance, but his composing skills were rapidly increasing. He loved the musical examples he heard in the works by Rimsky-Korsakov. They gave him the road to follow in his quest to learn how to best use the instruments of the orchestra. His orchestral language and wit were present in his First Symphony, a student piece that would be the envy of many 20th century composers to follow. He also benefited from the opportunity to use his improvising skills at the piano to accompany movies live. Was this young man the real Shostakovich?

He set upon writing his Second and Third Symphonies, both of which had contemporary political statements as their centerpieces with titles like To October and The First of May. Such music could not have displeased the local Communist leaders, could they? They included choruses and new sounds for that relatively new century. The fact is, they were not well-received and there would be a six year lapse before Shostakovich would provide another symphony for public consumption. There was more music to write, anyway. He wrote operas, chamber music, ballets, and a concerto for trumpet and piano. Even though it would not be performed for quite some time (until 1960) Symphony No. 4 did roll out of his pen. It was however, on the heels of his opera, Lady Macbeth of Mtensk District or Lady Macbeth of Minsk. All was well and Dmitri was being performed consistently. Was this driving force in Soviet musical art the real Shostakovich?

To be continued!


Join Music Director & Conductor Manny Laureano, for the concert, “Music in 3D: #6” featuring award-winning cellist Nygel Witherspoon soloist for the Cello Concerto. The concert takes place on Sunday, May 5, 2019, 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 952-948-6506.

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Music in 3D: #6 :: Concert Preview

Cello Concerto in B minor, Op. 104
Antonín Dvorák

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 “Music in 3D: #6” concert that will be performed on Sunday, May 5, 2019.


When, at first you don’t succeed, wait about thirty years and try it again. It’s always a bit stunning to see, when we study the lives of the great composers, how much time can lapse between a concept and an execution. From Brahms to Wagner, we see that the great composers were willing to wait until the roast was ready and rested before carving.

Antonín Dvorák was born in an area of the world that produced so much descriptive and beautiful music, Bohemia, in 1841 and he died in Prague, in 1904. In his later years he traveled to the New World and visited much of the United States, which gave him opportunity to experience music and musicians in a more personal and firsthand way. After hearing American composer and cellist Victor Herbert play his own Second Cello Concerto,
Dvorák was reminded that he had some unfinished work to do. In 1865, the young Antonín had written a Cello Concerto that he ultimately disliked and never took to the task of orchestrating to completion. Now the more mature and accomplished Dvorák realized he needed to both write a work for cello and orchestra that would satisfy him and be richly successful as a standard part of the solo repertoire.

Though Dvorák had selected friend and musical associate, Hanuš Wihan, to be his soloist for the premiere, it was not to be, due to a set of managerial mishaps—although Wihan did get the opportunity to play it publicly later. The premiere was rescheduled with a different soloist, Leo Stern, in London. Since Dvorák was of the group of composers who had conducting skills, he led the performance from the podium. His opportunity to conduct must have been very special indeed, but for a different reason than you might suspect. At one point in his life, Dvorák was quite smitten with one Josefina Cermáková but his ardor was not returned by Josefina. He did, however, marry Anna, the younger sister of Josefina. We can only surmise that there were always subdued feelings for his first love and when news of her reached him, he inserted a coda with references to a song of his, which he knew Josefina liked. One can only imagine that personal and reflective moment for him on the podium, as the music in his ears matched what he felt in his heart.


Nygel Witherspoon with his cello
Nygel Witherspoon, Cello

Join Music Director & Conductor Manny Laureano, for the concert, “Music in 3D: #6” featuring award-winning cellist Nygel Witherspoon soloist for the Cello Concerto. The concert takes place on Sunday, May 5, 2019, 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 952-948-6506.


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From Boisterous to Pastoral :: Concert Preview 3 of 3


Before each concert, we share “Manny’s Musings,” thoughts from our Music Director and Conductor, Manny Laureano. This is the final edition of the “Musings” for the “From Boisterous to Pastoral” concert that will be performed on Sunday, February 24, 2019.


Symphony No. 2 in D Major, Op. 73

by Johannes Brahms

Johannes Brahms, composer

Johannes Brahms, composer

I will ask the readers of this particular set of notes about the Second Symphony of Johannes Brahms (1833-1897) to indulge the author in a bit of sentimental folly. The hope of yours truly is that the recollection that has made this work such a favorite of mine would give Brahms cause to smile.

As a fledgling trumpeter in New York City, I had the opportunity—nay blessing—to play the first movement of this work by the man who shook the dust of his native Hamburg, Germany, from his feet, to be known more as a Viennese composer and artist—something for which the citizens of his birth city have still not forgiven. I was instantly enraptured by the sounds of this opus 73 of his. There was much for me to absorb, to be sure, but I was mesmerized by a theme that he had written earlier (to honor the birth of a child) that found it’s way into this Pastoral D Major symphony. So much so, in fact, that in my reverie I missed my next entrance! You, as the listener, will have no such problem since you are encouraged to dream away in the comfort of your seat.

There’s plenty from musicological and historical vantage points to appreciate here, from the summer getaways in the south of Austria to the impeccable structures of each movement that serve as the fabric he uses to weave his melodic/harmonic portraits. However, the magic in this music for the first-time listener is set firmly in the way it evolves so naturally. That is not to imply at all that the music is predictable. Far from it! Rather, it changes like a color wheel that is filled with warmth and stark hues.

The rolling cellos and basses introduce a duet by two horns that will be heard throughout the first movement as the first violins sit patiently, waiting to play what seems like nothing more than an etude of widening intervals. The sweetness of that simplicity is answered by a chorus of monk-like low brass that introduces a beautiful arching theme, once again, in the hands of the violins. The once-rolling theme is animated shortly thereafter and it is at that point that the listener realizes that the first movement will be full of many more climaxes and also charming surprises, particularly at the end coda.

The thoughtfulness of the second movement is a display of the beauty of the low and tenor instruments of the orchestra. There will be ample opportunity for the soprano members of the orchestra to sing in solo settings and also en masse. Brahms shows his handy ability to shift his rhythmic flow from straight 4/4 time to a 12/8 “swing” that brings to mind the Barcarolle from Tales of Hoffmann by Offenbach.

What’s a Brahms symphony without an opportunity to be a bit playful? The third movement gives him a chance to, once again, play with pulses and time signatures to give the illusion that he has written everything in the movement in the same time signature. In fact, he goes from 3/4 to 2/4 to 3/4 to 3/8 to 9/8 and finally back to 3/4 in the sliest manner! He has taken a walk and every time he turns his head he sees a different scene, barely ever stopping to stand still.

If D Major was a key that Bach used to celebrate in a joyful manner, well, that was good enough for Brahms. The quiet murmuring that begins the finale gives way to unrepentant joy in Brahms’ hands. There are moments of introspection and development that are ravishingly atmospheric to give us a moment to breathe. Make that recovery quick, though, for Brahms is at his joyful best as the coda challenges the orchestra to race to the finish line as the low brass remind us what key we are in!

Join Music Director & Conductor Manny Laureano, for the concert, “From Boisterous to Pastoral” featuring Catherine Carson, winner of the Mary West Solo Competition as soloist for Camille Saint-Saëns’ Violin Concerto No. 3. The concert takes place on Sunday, February 24, 2019, 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 952-948-6506.

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From Boisterous to Pastoral :: Concert Preview 2 of 3


Before each concert, we share “Manny’s Musings,” thoughts from our Music Director and Conductor, Manny Laureano. This is the second edition of the “Musings” for the “From Boisterous to Pastoral” concert that will be performed on Sunday, February 24, 2019.

Violin Concerto No. 3 in B Minor

Camille Saint-Saëns

Imagine how wonderful it would be to be a gifted composer! Melodies and harmonies would flow from you to your pen (perhaps a computer in today’s world) as you needed them. Now imagine the luxury of having at your disposal some of the world’s greatest soloists, eager to play the music you have written for them. This was the world Camille Saint-Saëns (1835 – 1921) lived in, as he was able to write this work for Pablo de Sarasate, a luminary of the violin world from Spain who was only a tender fifteen years of age!

What is remarkable about this concerto is revealed in the single movement you will hear at this BSO concert. It is common for composers of this time and before to write their finales in rondo form. That is to say, that one theme will have the opportunity to come back repeatedly, an economical way of writing and a good way to have your audience leave whistling the tune. Saint-Saëns eschews that form with a curt “Non, non!” and proceeds to use no fewer than five separate themes that tie together in the way that only a genius could dictate. Not since Mozart do we have a composer “throw away” themes in a playful manner and with such success. One theme in particular is so serene and pastoral as to put on display Saint-Saëns’ Catholic faith. Its tranquil beauty returns as a powerful hymn played by the brass section against the busy strings, each complementing each other.

Join Music Director & Conductor Manny Laureano, for the concert, “From Boisterous to Pastoral” featuring Catherine Carson, winner of the Mary West Solo Competition as soloist for Camille Saint-Saëns’ Violin Concerto No. 3. The concert takes place on Sunday, February 24, 2019, at 3 p.m. at the Gideon S. Ives Auditorium at the Masonic Heritage Center (11411 Masonic Home Drive, Bloomington).

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Musician’s Musings: Paul Benson

We love to feature Musings from our Musicians, and are excited to share this month’s submission, written by Paul Benson. Paul joined the BSO in November 2018 and we are so happy to have him in the cello section. We hope you enjoy this Musing as much as we do!



HOW TO BE A CELLIST IN TWENTY EASY STEPS!

Step 1 

Start. Do not stop. — This is the most important step of all of the steps. If you can completely fulfill Step 1, you may skip Steps 2 – x

Step 2

Start learning how to play the French horn. — This is an optional step, but still important to get the best cello experience humanly possible. 

Step 3

Get good. — Practice. A lot. Probably more than you should. 

Step 4

Audition for Minnesota All-state orchestra and Minnesota All-state band at Cathedral High School in St. Cloud. Have a really good string audition and a really bad brass audition in the deadest room you have ever been in. — This is imperative to the cello experience. Make sure you have a beautiful audition where you practice the same thing over and over again, making sure to ignore the French horn audition and fully focus on the cello audition. 

Step 5

Get into the Minnesota All-state orchestra. — This will completely change the way you think about music, especially in the string world. Enjoy Prokofiev for the first time. This will get you really interested in classical repertoire! 

Step 6

Start to branch out. — Join local orchestra, the Willmar Area Symphonic Orchestra. This is when you start actually thinking of majoring in music in college. 

Step 7

Apply to the University of Minnesota, planning on majoring in Music Education.

Step 8

Get accepted into the University of Minnesota, still planning on majoring in Music Education.

Step 9

Do not get accepted into the School of Music at the University of Minnesota. — This step is crucial. After this, you will want to practice your tail off for your next audition in 4 months. 

Step 10

Make sure you meet with your guidance counselor at the U. — Your counselor will ask if you have a back-up plan for if you don’t get accepted into the School of Music. Make sure you say “no.” 

Step 11

Practice very hard and get into the School of Music! — After a questionable Bach performance, you will be ready to join the SoM. Now you are able to take lessons from the great Tanya Remenikova. 

Step 12

Do not disappoint Tanya Remenikova. — This is another crucial step. You have to work super hard. 

Step 13

Audition to be in the University Symphony Orchestra. — You will probably shake very badly during your audition. That’s okay; you’re still not ready. 

Step 14

Get into one of the orchestras meant for non-music major students. — This makes you feel like you have something to prove. Continue to work very hard. 

Step 15

About 1 year later, audition for the USO again. — This time is the charm. You’ll make it in after working very hard to get to…

Step 16

Sit in the back of the cello section. — Your new goal for professional playing is to move up from, well, not the back. This will bring about an understanding in yourself – there is no shame in sitting in the back of the cello section. Every member of the section is important. But if you want to sit further up you just have to work harder. 

Step 17

Start to work on your senior recital. — Throughout this process, you have good lessons and bad lessons. There are so many times where you doubt yourself. But you’ve come way too far to stop now. You spend more time in the practice room than you ever have before. You need to get your Bach 2 and Saint-Saens Cello Concerto working. There are moments where Tanya offers an easy out – simply only do a few movements from each part. At this, you outright refuse – you do not want to budge, not even a small amount. To do this would be to give up a huge piece of what you believe in, what you’ve been striving for. This is truly the ultimate test. 

Step 18

Start to feel pretty good. Perform your senior recital wonderfully. — You have come such a long way from when you started, but your journey isn’t over yet. You do surprisingly well for your senior recital; you can’t get down on yourself for doing your absolute best. Your brain, which is normally very critical and deprecating, is quiet. You have done it! You memorized every note, you played every phrase. You feel like you’re starting to get the hang of it.  

Step 19

Next steps. — After you’ve graduated from college, there are many paths to take. The one you might end up taking is Focus On Teaching. You got your first job, but you put all of your effort into becoming a better teacher. This means the cello will take a bit of a back seat as you move forward. 

Step 20

Get right back into it. — You move back into the metro area, a place rife with opportunity to perform. You were recommended to audition for the Bloomington Symphony Orchestra. This was always in the back of your mind, until you decide to go for it. You work hard to get your audition as best as you can. When the moment comes… You’re in! 

At this moment, you will have to start making decisions on your own. Everyone’s journey to be a better musician comes in many different shapes and colors. I always tell my students that pursuing music is like climbing to the top of a mountain whose peak you will never get to see. What you end up seeing is a vast musical landscape that spreads out before you the higher you climb. You may never reach the summit of the mountain, but what you get to see is where you’ve come from and where you’re going. My hope for them – and myself – is that we all keep looking upwards. 

“I feel that I am making daily progress.” – Pablo Casals

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Introducing Catherine Carson, Violin

Catherine Carson, Violin

Catherine Carson (Cate) is from Northfield, MN, and is a violin student of Sally O’Reilly. She is in 11th grade and is in the Pre-Conservatory program at Shattuck-St. Mary’s School. She has been playing the violin since she was four years old. Cate is a prize winner in many competitions, including the Thursday Musical Competition, the Schubert Club Competition, the YPSCA Competition, the Rochester Music Guild Competition, the Mary West Solo Competition, and the 2018 Senior Level MTNA Competition, West Center Division. 

Cate has performed in the Bowdoin International Music Festival in Brunswick, Maine, California Summer Music in Sonoma County, and the Bravo Festival in Minnesota. She has worked with Almita Vamos, John Gilbert, Robin Scott, Renée Jolles, and Susan Crawford, and has participated in masterclasses with Jennifer Koh, Gwen Thompson, and Nicola Benedetti. Her orchestral experiences include both the Minnesota Youth Symphonies and Greater Twin Cities Youth Symphonies, serving as concertmaster twice. Her favorite academic subjects are English and history, but when not practicing or studying, Cate enjoys spending time with her friends, family, and her cat.

Join Cate for her performance of the final movement of Camille Saint-Saëns’ Violin Concerto No. 3 with the Bloomington Symphony Orchestra on Sunday, February 24. The BSO is grateful to the Minnesota String and Orchestra Teachers Association and the coordinators of the Mary West Solo Competition in identifying this fine soloist!

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Support the BSO today!

The Bloomington Symphony Orchestra has had a wildly successful year, selling out concerts at the Masonic Heritage Center and the Schneider Theater, welcoming over 200 students to our concerts, and by taking on increasing musical challenges through the performance of masterworks by Debussy, Bernstein, and Tchaikovsky.

The BSO is working hard to enrich the lives of our audiences and musicians with outstanding performances of challenging, educational, and thoughtfully selected orchestral repertoire through our concerts and weekly rehearsals. To continue this work, we need your help!

Your support helps us provide this music at a low ticket price for audiences, and admit students for free, in fine venues close to home. It also helps support our appearance at the Bloomington Orchestra Festival, where hundreds of Bloomington Public Schools string students get to hear the BSO play in their school, and perform side-by-side with high school musicians.

If you are able, we would love for you to contribute to help us achieve our mission of enriching lives through orchestral music. You can give in three tax-deductible ways:

  • Send a check made out to “BSO” to our office at 1800 West Old Shakopee Rd., Bloomington, MN 55431
  • Online via our PayPal link
  • Online via GiveMN
All gifts are tax-deductible to the extent of the law and donors will be recognized in our concert programs. To discuss recognition opportunities at the $500 level and above, contact Sara Tan, General Manager via email. Thank you in advance for your support of the Bloomington Symphony and for helping us keep this beautiful art form vibrant, here in the Twin Cities!

PS — Our Board of Directors is continuing to match donations up to $5,450. We are 65% of the way there, and every gift at any amount will help us meet this match!

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BSO Board Announces Matching Challenge

The Board of Directors of the Bloomington Symphony Orchestra is thrilled to announce a match of $5,450 for donations made between now and the end of November. Your donations help us to be able to perform in fine venues in the City of Bloomington, to offer free concert tickets to any student who comes with an ID, to introduce new gems, like the Charlie Harmon “Suite from Candide,” and to be able to do all of this at a high level of quality under the baton of Manny Laureano.

You can give to the BSO in three ways:

Preferred: Send a check written to “BSO” to our office at 1800 West Old Shakopee Rd, Bloomington, MN 55431. All funds from these donations go directly to the BSO, and allow us to use every penny of your generous donation.

Online: You may give via our PayPal donation link. This method has a nominal processing fee, but is convenient for many users. A PayPal account is not required — you may check out as a guest — and helps us get about 97% of your donation.

You may also give on our GiveMN.org page. This is the link to use if you plan to make other Give to the Max Day donations on Thursday, November 15. We appreciate that Give to the Max Day makes us eligible for $500 Golden Tickets which are given out at random during the day of giving on November, but this option comes with 7-8% processing fees. You may choose to cover that fee for us, but we know you work hard and want your money to go a long way, too!

Thank you for supporting the BSO’s efforts to enrich the lives of our audiences and musicians with outstanding performances of challenging, educational, and thoughtfully selected orchestral repertoire.

All donations are tax-deductible to the extend of the law.

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