BSO Announces Changes to Summer/Fall Performances

The Bloomington Symphony Orchestra Board of Directors has made the difficult decision to suspend full orchestra rehearsals and performances through October 2020. This includes our biannual appearance at Summer Fete, our annual outdoor concert at Arts in the Park, and the opening concert of the year, traditionally held at the beginning of October. We continue to plan for the rest of our 2020-21 season with the understanding that, as the dates approach, public health recommendations may require further changes to our schedule.

Out of an abundance of caution, we are shifting our focus to smaller ensembles that can allow for safe performance conditions for audiences and musicians. As we learn more about best practices which allow us to safely perform as a full orchestra in front of a live audience, and as the restrictions around social gatherings continue to quickly evolve, we will adjust our plans accordingly.  

We remain dedicated to our mission to enrich the lives of our audiences and musicians with outstanding performances of challenging, educational, and thoughtfully selected orchestral repertoire. While we are sad to lose this portion of our season, we hope to see you in person at live chamber music performances, or virtually, as we are planning some online experiences for our audience.

For now, keep an eye on our website and Facebook page where we will announce our plans. You can also sign up for our email list here or add your name and address to our mailing list to receive hard copy announcements by completing this form.

Viola Flute and Clarinets of the Bloomington Symphony Orchestra play
The Musicians of the BSO perform in February 2019 at the Minnesota Masonic Heritage Center (photo credit: Leslie Plesser)
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CANCELLED: Music in 3D #7: The BSO Plays Mahler’s Fifth

The BSO’s Board of Directors is following the recommendations from the Minnesota Department of Health, and cancelling the April 5 concert and related rehearsals. Our Annual Meeting, which was scheduled for Sunday, March 15, is also cancelled.

We are devastated to make this decision since Manny Laureano and our musicians have already put in a great deal of time and effort in preparation. However, the health and safety of our audiences and musicians is at the forefront of our minds, as we make decisions in this unprecedented time.

If you ordered tickets to this concert, please keep an eye on your email. The Masonic Heritage Center will send a message and touch base with patrons to discuss ticket refunds on Tuesday, March 17.

Please address any other questions to our board via our email address: info@bloomingtonsymphony.org.

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The Colorful Music of Russia :: 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 entry of the “Musings” for the “The Colorful Music of Russia” concert that will be performed on Sunday, February 16, 2020.

Two Works by Dmitri Kabalevsky

This concert by the BSO partially features a look into two well-known works by Soviet composer Dmitri Kabalevsky (1904-1987). He, like several other Russian composers, can truly be considered a child of two revolutions, as he began his formal studies in music at the Scriabin School at the age of 15 and later, at the Moscow School.

A black and white photograph of Dmitri Kabalevsky, with his autograph written in blue ink over his chest.
Dmitri Kabalevsky, composer

Upon listening, you can hear that his music is different from that of Shostakovich or Prokofiev even though they were contemporaries. He doesn’t challenge the listener to intensely private moments portrayed in his music or stir the queries of whether there are hidden meanings within it. His music is lyrical, yet never filled with the angst we associate with so many other Soviet composers of the time and hints more at trips to the circus in his youth. There is an enjoyable predictability when compared to other composers that grew up and developed at the same time in the same place as Kabalevsky. It is important to note that Kabalevsky was and still is, recognized for the piano music he composed for children, helping to hone their skills through fingerings and melodic lines that suited young hands with an emphasis on flowing melody lines and harmonies.

The Overture to Colas Breugnon (1938) is a pre-war romp based on the writings of French author Romain Rolland that became Kabalevsky’s first operatic venture. You could say that the boundless optimism of the protagonist suited Kabalevsky’s personality quite well and his music captures Colas’ personality perfectly. It is an early work that required the revisions it received in 1968 but the Overture has remained a concertgoer favorite ever since.

The Violin Concerto in C Major (1948) is a post-war, three-movement work that grabs you by the collar at its opening, releases you only briefly for one poignant slow movement, and then lifts you onto horseback for a wild ride, scimitar and all. Originally written for Igor Bezrodny, a budding Soviet violinist, the work immediately drew praise for the youthful optimism it displays from the start with its Spanish-style rhythms. It is a conversational work that features solo instruments within the orchestra to chatter back and forth with the primary violin solo part. The B? major second movement seems to not be able to contain its penchant for joy (even though it tries to be serious at first!) but remembers its role as a contrasting movement and settles down into peaceful beauty. For the finale, one is advised to buckle up for aforementioned ride, as Kabalevsky alternates from major to minor themes and larger-than-life characters culminating in a cadenza that invite “parental” admonishments from the orchestra. Like a clever child, however, the violin melts the heart and helps us end in youthful triumph, smiles abounding.

Join Music Director & Conductor Manny Laureano, for the concert, “The Colorful Music of Russia” featuring BSO Concertmaster Michael Sutton as soloist. The concert takes place on Sunday, February 16, 2020, 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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Percussion Audition – February 2020

We are pleased to announce an audition for a section percussionist on Sunday, February 2020. Full information is available on our audition page. You may also reach out to auditions@bloomingtonsymphony.org for more information.

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New Works and Old Friends :: 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 entry of the “Musings” for the “New Works and Old Friends” concert that will be performed on Sunday, October 6, 2019.

When you think of composers who had a large output of music of all types, one has to go to the usual suspects like Beethoven, Mozart, and Bach. If one was to further assume that it was one of those aforementioned gentlemen who held some sort of record for the most music written, you would be close but this is serious musicological business, not horse shoes. Nay, that record has to go to Georg Philipp Telemann (1681-1767) with about 900 pieces of music to his credit! This is not bad, considering that the young Georg was almost prevented from fulfilling his desire to be a great musician by his mother who believed that no good could come of this music obsession he had. My favorite quote about that was the admonition from some of the congregants from the Lutheran church he attended that he would turn out “a clown, a tightrope walker or a marmot trainer.” Never have seen a trained marmot, I don’t know that I would have minded that he learn the craft. At any rate, rodents were not in Telemann’s future and he set about studying a wide variety if musical instruments on his own in secret. He wrote and wrote as he matured and traveled to work in many important musical capacities for the great and near great. This came with a cost, however of a couple of marriages that didn’t end well. He did live a long life, dying at the age of 88.

A black and white etching of composer Georg Philipp Telemann wearing a white powdered wig and robes over his writing outfit
Georg Philipp Telemann

Telemann left us with a cornerstone of the viola repertoire, his Concerto for Viola in G Major which was written over a five year period between 1716 and 1721. I’m not sure what the hold up was, but it was the first concerto ever written for the instrument and I suppose he wanted to make sure he got it right. Apparently he did, since the four-movement, slow-fast-slow-fast structure was very appealing. The concerto exploits the wonderful alto voice of the instrument under a variety of articulations and sentiments. If you listen carefully, it will seem that the viola has a uniquely human character and it is perhaps that quality that makes it such a compelling voice to hear in the relationship between instrument and chamber orchestra.

African American violist George Taylor, wearing a robin's egg blue button down shirt, navy suit coat and holding his viola, stands against a colorful wallpapered wall.
George Taylor, viola soloist for the Bloomington Symphony Orchestra concert “New Works and Old Friends” on Sunday, October 6.

Join Music Director & Conductor Manny Laureano, for the concert, “New Works and Old Friends” featuring Eastman School of Music Viola Professor George Taylor as soloist. The concert takes place on Sunday, October 6, 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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New Works and Old Friends :: 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 entry of the “Musings” for the “New Works and Old Friends” concert that will be performed on Sunday, October 6, 2019.

It is always an interesting debate to discuss what makes composers free in terms of how they express themselves. Are they free when they latch on to a current convention, perhaps writing in a style that is challenging for challenge’s sake? Are they freest when they write for themselves or the listener? This is the debate you may have when you listen to the music of Adolphus Hailstork (born 1941 in Rochester, NY). Hailstork is a true eclectic, as he doesn’t seem to feel the need to wed himself to any one musical language. He is at home in any structure he chooses to write.

African American composer Adolphus Hailstork, wearing a black tuxedo, against an ivory colored background
Adolphus Hailstork, composer

His works cover the gamut of styles and types of ensembles available for musical expression. He has written for band, orchestra, chorus, vocal soloists, and an array of chamber ensembles. This is reasonable, given his equally diverse mentors with whom he studied beginning in the early 1960’s including luminaries such as Nadia Boulanger, who was a prime influence for Igor Stravinsky and Aaron Copland, for example. He also worked with American composers David Diamond and Vittorio Giannini. What you think Hailstork “sounds like” really depends on which of his works you happen to be listening to.

Today, you will listen to his foray into the tonal qualities of the viola with chamber orchestra in Two Romances for Viola and Chamber Ensemble. His conversational and flowing style is a bit like the musical version of a color wheel which holds a melody that wafts from one instrument or sections of the orchestra to the solo viola. The BSO is proud to join the ranks of the Philadelphia Orchestra, New York Philharmonic, Baltimore Symphony, and Detroit Symphonies, to name a few, in this celebration of the music of one of our own American composers.

Join Music Director & Conductor Manny Laureano, for the concert, “New Works and Old Friends” featuring Eastman School of Music Viola Professor George Taylor as soloist. The concert takes place on Sunday, October 6, 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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Season Announcement on July 15

Come to our website on Monday, July 15 to find out what Manny has selected for the BSO in 2019-20! You will be able to learn about each concert and order tickets on that day.

We will happily send a brochure to your home if requested. Please send requests before July 8 to assure delivery. You can request this by filling out the form below:

You may also join our email list using this form:

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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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