“Music in 3D: #5” Concert Preview No. 5

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: #5” concert that will be performed on Sunday, April 22, 2018.

La valse
Maurice Ravel (1875-1937)

It is a delicious irony of a musical life that Maurice Ravel, an Impressionist composer of colors and atmosphere, was so fastidious in the way he did things. This talented, artistic, bachelor “neat freak” might have easily played the role of Felix Ungar had Neil Simon been around at the time.

If one were to open a score to his atmospheric 2nd Suite to Daphnis and Chloe, the eyes would be immediately met by an array of notes so seemingly complex that one would have to wonder how musicians were able to play the thing at all! So it is with his tribute to (and destruction of) the Viennese waltz of the day, La Valse (1920).

It begins with a quiet grumbling in the basses, divided to trill and then play pizzicati that serve as the heartbeat that gives the waltz it’s first life. You might be tempted to scream out loud “It’s alive!” but hold on, for this is just the beginning. He uses his brilliant understanding of orchestration and mind-numbing detail to create a mist-like veil that is lifted slowly like a sunrise to eventually reveal first light. It’s not really about one waltz but, in the manner of Johann Strauss Jr., it is several waltzes played one after the other, some with smooth transitions and others not.

Originally conceived as a ballet, it has received many, many more performances as a showpiece for orchestras showing off their myriad talents and section sonorities. It is all superbly organized to take both orchestra and listener on what is at first a comfortable ride of sensual swings and loops only to become a demonic exaggeration that ends with a comic punchline in 4/4 rather than three quarter time. Advisedly, I say to be wary of finding any deeper meaning in this music than what it is: taking an emotion to its zenith. That said, when you hear the original theme return… buckle up!

Join Music Director & Conductor Manny Laureano, for the concert, “Music in 3D: #5 featuring Katia Tesarczyk, violin, and winner of the Mary West Solo Competition sponsored by MNSOTA. The concert takes place on Sunday, April 22, 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.

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“Music in 3D: #5” Concert Preview No. 4

Before each concert, we share “Manny’s Musings,” thoughts from our Music Director and Conductor, Manny Laureano. This is the fourth edition of the “Musings” for the “Music in 3D: #5” concert that will be performed on Sunday, April 22, 2018.

Fêtes from Trois Nocturnes, L. 91
Claude Debussy (1862-1918)

It is always interesting to see how the visual arts and music seem to express themselves similarly through the ages. From the complex nature of Baroque paintings which often sought to render emotion without the benefit of great exaggeration to the suggestive Impressionist period, music seemed to be a willing accomplice at nearly the same times.

Great composers through the years have never been short on imagination. The greatest of those were always sure to compose and imply rather than hit you over the head with an idea. Whereas Renoir and Monet were content to let you do some of the work with your eye and your mind’s eye, so was Claude Debussy. He risked much in doing so, as his early works and chord progressions were pronounced “bizarre” by the professors at the French Academy in Rome. It was likely that his exposure to various forms of music, such as that produced on the Indonesian Gamelan, acted as a catalyst to an an already active imagination.

Of the Three Nocturnes (1899) the most popular is Fêtes. It is also the most diversely colorful. Set yourself in Paris as evening descends and find yourself in a flurry of human activity. Take a moment to enjoy a glass of wine at an outdoor cafe as a military band approaches from afar until it is right on top of you. Find yourself near the Seine as the last remnants of music fade into the night.

Join Music Director & Conductor Manny Laureano, for the concert, “Music in 3D: #5 featuring Katia Tesarczyk, violin, and winner of the Mary West Solo Competition sponsored by MNSOTA. The concert takes place on Sunday, April 22, 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.

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“Music in 3D: #5” Concert Preview No. 3

Before each concert, we share “Manny’s Musings,” thoughts from our Music Director and Conductor, Manny Laureano. This is the third edition of the “Musings” for the “Music in 3D: #5” concert that will be performed on Sunday, April 22, 2018.

Danse Macabre, Op. 40
Camille Saint-Saëns (1835-1922)

Camille Saint-Saëns, composer

Think of Camille Saint-Saëns as a 19th century composer version of actor Tom Hanks. That is to say that he not only had a wonderful talent for composing stirring and compelling works, but he was able to provide his audiences of both then and now with works that tremendously diverse in spirit and personality. The man that gave us a magical and witty Carnival of the Animals, a darkly majestic Organ Symphony, a peaceful and sensual 3rd Violin Concerto in B minor, and standard-setting A Minor Cello Concerto, would reach into his dark side and take us on a midnight trip to a graveyard for his most-played work, the Danse Macabre (1874).

While it is a tone poem, it is not heavy of plot. It is more about atmosphere with just a few clear indications of a tolling midnight bell (played subtly by the harp) and an early-morning cock crowing which is given voice by the solo oboe. He does provide us with some innovations to stir the imagination in the form of a solo violin with playing a strident tri-tone. He accomplishes this by having our concertmaster tune his open E string down to an Eb. This changes the familiar perfect 5th of the open E and A into the tri-tone originally referred to as diabolus in musica and banned by the church many centuries ago. Another new sound was that of the xylophone making its orchestral premiere in this work. Its brittle sound portrays the terpsichorean talents of the skeletons who take advantage of the lonely and deserted cemetery to revel until the morning sun threatens to reveal them.

Join Music Director & Conductor Manny Laureano, for the concert, “Music in 3D: #5 featuring Katia Tesarczyk, violin, and winner of the Mary West Solo Competition sponsored by MNSOTA. The concert takes place on Sunday, April 22, 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.

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“Music in 3D: #5” Concert Preview No. 2

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: #5” concert that will be performed on Sunday, April 22, 2018.

Violin Concerto in E Minor, Op. 64
Felix Mendelssohn (1809-1847)

Felix Mendelssohn Bartholdy, Composer

How much we are in the debt of Felix Mendelssohn Bartholdy? Never mind his own great compositions such as the the string symphonies he wrote between the tender ages of 12 and 14, or his lyrical Piano Concerto in G minor. Forget his Fourth Symphony (so-named the Italian) which, even though written in an elegant classical style, broke rules by being still the only symphony to begin in a major key only to end in an explosive minor saltarello. We won’t mention his contribution to the field of oratorios with his piously beautiful Elijah.

If all he had done was to bring back the music of Johann Sebastian Bach to the consciousness of the music-loving public, as he did with his performance of the St. Matthew Passion it would have been enough to secure his place in musical history… but no. He also managed to write the most easily recognized violin concerto in history with his E minor concerto. While he conceived the piece in 1838, he was not able to finish it until quite some time later–in 1844–for his close musical associate and friend, Ferdinand David.

This music is sweet without being maudlin or overdone. It is bold without being brash. It’s first-movement cadenza follows a classical approach without self-indulgent pyrotechnics. It has spoken quite well for itself as a standard-bearer for great violinists for about 170 years!

Join Music Director & Conductor Manny Laureano, for the concert, “Music in 3D: #5 featuring Katia Tesarczyk, violin, and winner of the Mary West Solo Competition sponsored by MNSOTA. The concert takes place on Sunday, April 22, 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.

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“Music in 3D: #5” Concert Preview No. 1

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: #5” concert that will be performed on Sunday, April 22, 2018.

Rakoczy March from The Damnation of Faust, Op. 24
Hector Berlioz (1803-1869)

Hector Berlioz, Composer

When Hector Berlioz wrote his work, The Damnation of Faust, he took a risk by writing a hybrid work. It traversed the worlds of both grand cantata and opera and the audiences that attended the first performances weren’t quite sure what to do with it. He likely would have preferred clear dislike of the piece but was more upset by what was indifference by the opera-going Parisians. After all, the novel was something that had provided Berlioz with his latest obsession. In human terms, it is easy to understand why the lack of validation for his interest would be disappointing to him. Time changes hearts and minds and the construction and thematic material became more appreciated as evidenced by the many performances that happen world-wide on a yearly basis.

The Hungarian March or Rakoczy was added to accentuate the cynicism that was a part of Faust’s character. This march, which was written earlier and separate from the opera, provides Faust with the opportunity to wonder how soldiers could be so infernally happy (see what I did there?) when he perceived life to be so useless and bereft of anything to celebrate, much less being an enlisted man.

Join Music Director & Conductor Manny Laureano, for the concert, “Music in 3D: #5 featuring Katia Tesarczyk, violin, and winner of the Mary West Solo Competition sponsored by MNSOTA. The concert takes place on Sunday, April 22, 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.

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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.

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“Stories and Enigmas” :: Concert Preview No. 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 “Stories and Enigmas” concert that will be performed on Sunday, February 25, 2018.

Edward Elgar, Composer

Imagine you are a very strong country whose empire is so large that it would soon be said that the sun never set upon it, as there is always some part of the globe you conquered that’s lit up by some part of the sun’s rays. Not only that, you are the reigning monarch of the English language, as you have few that match you in your use of prose. An influential queen is on the throne. You rule the seas and all that. You have it all.

Not quite.

While the written arts were on display in every library on the planet, you do lack in a couple of areas that much of the world find important. There are no current household names that gave you equal notoriety in the art of painting nor that one other artistic endeavor: classical music. There are sea shanties and folk tunes that were recognizable across borders but symphonies and the like? Not so much.

And so it came to pass, that England was quietly in search of a national composer who would write music that the world found itself embracing. God provided in the form of one Edward Elgar (1857-1934) who was born to a family who owned a music shop. In essence, he was always surrounded by music and musicians. It also gave him the chance to learn several instruments, some nominally and others well. Of the ones he grasped with greatest intent were piano and violin.

Growing up Catholic in a predominantly Protestant area drew forth many of the same challenges that Gustav Mahler would find in terms of prejudices, except that Elgar found the strength to hold onto his faith through the woman he would eventually marry. She was his final and most enduring love, named Caroline Alice. Again, he bucked the traditional British class by marrying “up” while she, the daughter of a well-known major, married “down” for the time being, at least.

Slowly and impressively, Elgar honed his style until it became unmistakably his. The fullness and cleverness of his orchestration in the work, “Variations on an Original Theme,” known more familiarly as the “Enigma Variations,” are a marvel to anyone who studies the work in its written form. His use of dynamics, voicing balances, and the oh-so-right instrument choices are fodder for modern-day film composers. Every time you hear the piece it is like reading Shakespeare: you find something new with every hearing.

Thus, the British Empire would lay claim to a champion for the music of the concert hall and smaller venues with his chamber music, as well. He would also lay claim to that which is desired by every British boy and that was knighthood, as it happened for him in 1904. This honor was just the beginning of such that he would receive worldwide. How do we tend to honor him in America? Go to any college graduation and listen to the music played while the students process down the aisles and you will almost always hear a household tune always associated with that occasion: Pomp and Circumstance #1 in D major.

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.

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“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.

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Zach’s Sobiech’s “Clouds” at the Mall of America

Musicians from the Bloomington Symphony Orchestra with guest conductor Dan Chouinard, had the chance to be a part of the KS95 “Clouds Choir for a Cause,” on December 15. The event raised over $500,000 for childhood cancer research. Thanks to Karl Demer of Atomic K Productions, KS95, the Mall of America and to the 8,000 singers who helped make this event memorable for all of us!

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Encore: Beethoven’s 5th! – Order Tickets Today!

The BSO will present Encore: Beethoven’s 5th  on Sunday, November 19 at 7 p.m. Join us for this unique Bloomington Symphony Orchestra experience, where Maestro Manny Laureano will provide the audience with some additional insight from the famous symphony, followed by a full performance of the same. Then, after the concert, stay and ask questions about what you heard.

More information about the concert is here. You can order your tickets online here or call the Bloomington Box Office at 952-563-8575 to order over the phone.

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