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 1 of 3


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 “From Boisterous to Pastoral” concert that will be performed on Sunday, February 24, 2019.

Roman Carnival Overture

by Hector Berlioz

For a man who complained as much as he did about Rome, French composer Hector Berlioz (1803-1869) kept that dislike a secret, if we are to judge by the quality of his output on Italian themes while he worked and finished his studies during the 1830s. In addition to his work for solo viola and orchestra, Harold in Italy, he completed a large, two-act opera called Benvenuto Cellini.

Photo of Hector Berlioz, composer
Hector Berlioz, Composer

One never knows exactly why audiences take to a work or greet it with raised eyebrows. In any case, the opera had only mild reaction but the overture was greeted with a bit more enthusiasm. Still, the entire work never really caught on during his lifetime. He did revisit it, though and even Franz Liszt took interest enough to revive it in Weimar. It was during that time that Berlioz thought it wise to draw a variety of themes from the opera and fashion an overture of a programmatic sort. That overture, Roman Carnival, is a robust medley of brash opening fireworks, a hopeful ballad from the English Horn that wafts infectiously from section to section, and a lively saltarello that builds, ebbs, and builds again into the boisterous finale this concert promises to deliver.

Buckle up.

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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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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“Musical Milestones” 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 “Musical Milestones” concert that will be performed on Sunday, October 7, 2018.

La Mer by Claude Debussy

Claude Debussy, composer

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 (1862-1918).

Active imaginations are occasionally fed by real-life experiences or desires. Debussy, whose father had been a proud member of the French Navy, would remark one day when it became clear that the maritime life was not in the cards, “…I’ve retained a sincere devotion to the sea. To which you’ll reply that the Atlantic doesn’t exactly wash the foothills of Burgundy …! And that the result could be one of those hack landscapes done in the studio! But I have innumerable memories, and those, in my view, are worth more than a reality…” So, perhaps it was a good thing that Debussy’s renderings in his colorful work, La Mer, benefited from what what his mind saw, rather than his eyes.

It can be easily argued that Debussy’s craft here led to the single greatest work of the Impressionist period even though, as often happens, the initial critical reception was not stunning. Even critics who were friendly to the composer could not wrap their brains around what they had just heard in 1905. With our contemporary ears, the salt air, the freshness of a welcome breeze, and the sound of fish playing below the surface is inescapable to the point where Minnesotans may recognize a section that was used to sell local spring water on a television commercial!


Join Music Director & Conductor Manny Laureano, for the concert, “Musical Milestones featuring Michael Sutton as soloist and conductor for Bach’s A Minor Violin Concerto. The concert takes place on Sunday, October 7, 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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“Musical Milestones” 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 “Musical Milestones” concert that will be performed on Sunday, October 7, 2018.

Violin Concerto No. 1 in A Minor by Johann Sebastian Bach

Johann Sebastian Bach (aged 61) in a portrait by Elias Gottlob Haussmann.

You’re a composer and you love what you do. Furthermore, you want listeners to love what you do, because life is easier when you get a paycheck for doing what you love. Johann Sebastian (1685-1750) saw all of his musical output as a glory to God and he wrote music as a form of payback, whether secular or sacred in subject. So it stands to reason that helping people remember your themes through a clever technique called ritornello. The Italian ritornello means “little return” quite literally.

In other words, this technique which was used by Antonio Vivaldi, the Italian Baroque master, consisted of presenting a theme and bringing it back over and over but always with a hint of development to tease the ear and keep things interesting and compelling. Bach’s style in this first concerto for violin is almost aggressive in the way he pushes his themes at the listener as the intense conversation fairly rages between soloist and accompanying forces. The sweetness of the slow movement that follows in C major gives way to a lively dance in 9/8 time back in A minor.

Michael Sutton, Violin

Michael Sutton, Violin & Conductor
photo by Joel Larson


Join Music Director & Conductor Manny Laureano, for the concert, “Musical Milestones featuring Michael Sutton as soloist and conductor for Bach’s A Minor Violin Concerto. The concert takes place on Sunday, October 7, 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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“Musical Milestones” 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 “Musical Milestones” concert that will be performed on Sunday, October 7, 2018.

Overture to Candide by Leonard Bernstein

Leonard Bernstein

Imagine a life that consists of working a decent job from 9 to 5, five days a week that has you looking forward to those blessed 2 weeks of vacation. There are promotions, a home upgrade or two, birthdays and graduations… all followed one day by a retirement and perhaps many days of earned fishing trips as you rest your head against the memories of a good life free of frequent drama.

The Leonard Bernstein (1918-1990) that had one of the most productive 1954’s imaginable could never have sat still long enough to think of living a life as sedate as the one I described. In fact, this pianist/conductor/composer (put those in any order you like) from Lawrence, Massachusetts, was living a prolific and successful decade — one that could easily be the envy of any musician.

In that decade he composed minor and major works that helped develop the language that was clearly “Lenny” from a melodic and harmonic sense. Peter Pan, Trouble in Tahiti, Wonderful Town, the soundtrack for On the Waterfront and its corresponding orchestral suite, the Serenade for Violin and Orchestra, and finally, West Side Story were written and performed. All this while conducting ubiquitously, as well as being appointed to succeed Serge Koussevitsky as the head of conducting for the Tanglewood Music Festival, and producing television programs designed to educate all of America about classical music’s greatest works. He even allowed Felicia Montealegre to convince him that they should marry. Somehow, in the middle of all this, a collaboration with Lillian Hellman spawned a bitingly cynical bit of theater in 1956 called Candide.

Using Voltaire’s classic story as its basis, Bernstein managed to provide the perfect musical context to the acid-laced words from Hellman’s pen. Getting there was no easy feat, however, as the gallery of musical theater personalities all had different ideas about scenery, timing, and deadlines, and because Hellman had a reputation for taking her time. Of course, Bernstein didn’t help matters by going off to Rome to conduct opera performances with Maria Callas, leading to an interminable gestation for this wild musical child.

With Felicia now pregnant with their second child and bills piling up (the Bernstein’s knew how to spend money but saving it was not a huge priority) it truly is a wonder that the work ever got written. But written it was to tepid reception by the critics. It didn’t gain the respect it would eventually garner until the idea to engage noted Broadway Hal Prince in a much more successful revival in 1974. Prince was merciless in cutting what he felt was a bloated original version down to 105 minutes and preserving only the absolute best of the musical offerings.

The operetta brings to life the misadventures of a Professor Pangloss and his students Candide and his Cunegonde as they search for the best their lives can offer in this “best of all possible worlds.” They endure all manner of absurd hardships only to realize what Dorothy Gale learned with a click of her ruby slippers: After searching for their hearts’ desire, there really is no place like home.

Join Music Director & Conductor Manny Laureano, for the concert, “Musical Milestones featuring Michael Sutton as soloist and conductor for Bach’s A Minor Violin Concerto. The concert takes place on Sunday, October 7, 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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Announcing the 2018-19 Concert Season

The Bloomington Symphony Orchestra is thrilled to announce the 2018-19 concert season, it’s sixth under Music Director and Conductor Manny  Laureano.

October 7, 2018 :: Musical Milestones || BUY TICKETS

November 18, 2018 :: Romantically Yours || BUY TICKETS

February 24, 2019 :: From Boisterous to Pastoral || BUY FLEX TICKETS

May 5, 2019 :: Music in 3D: #6 || BUY FLEX TICKETS

We are excited to perform works ranging from Bach to Bernstein. We hope you will join us for any or all of the season concerts. To learn more, click on the title of the concert and purchase tickets with the link to the right.

You can also click on the images below to download our 2018-19 Season Brochure.

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“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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