New Works and Old Friends :: Concert Preview No. 4

Before each concert, we share “Manny’s Musings,” thoughts from our Music Director and Conductor, Manny Laureano. This is the final entry of the “Musings” for the “New Works and Old Friends” concert that will be performed on Sunday, October 6, 2019.

It’s hard to say exactly what it is about Sibelius’ music that has made it such a favorite of Minnesotans. Learning that Sibelius will be played somewhere is cause for bundling up the family and driving a reasonable number of miles of frigid winter darkness to hear it, whether by a local professional ensemble or a community group like your BSO. It may be that we identify with the kind of weather Sibelius knew or the heartiness required to live through a harsh winter. Finns and Minnesotans seem to relish the suffering, whether from sowing the seeds of freedom for a nation or living through just one more season of Vikings Football. In either case, hope springs eternal.

By the time Sibelius set about writing his wonderful Second Symphony, to be premiered just a month away from the promise of spring, he had attained a form of heroic status among musicians and the Finnish public. He also found a place for himself as a conductor of his own music, leading no less than the Helsinki Philharmonic for that premiere. The boy who would be a great violinist found himself in the position of being a voice for his people instead. It seemed the Finns were not in as much need for a star violinist as they were a voice the world would be able to recognize for his superb craft in melody, harmony, and construction.

Black and white photo of a stern looking middle aged man
Jean Sibelius, composer

The dedication to Baron Axel Carpelan, a noted hypochondriac who was unlucky at love and once smashed his own violin in a fit of frustration seems unlikely, but Carpelan had the gift to be a source of inspiration for Sibelius. In fact, he was the fellow who egged on Sibelius to write a the celebrated Finlandia. He continued to badger Sibelius to travel and take in the world so that he could continue to feed his talent. Carpelan was proved right as Sibelius did absorb the ideas that come through exposure to new situations. It was not easy since the recent death of daughter Kirsti Sibelius left an indelible mark on her grieving father. Music was what saw Jean through, nevertheless.

This symphony offers itself as an interesting contrast from the gloomy First Symphony in E minor. This D Major jaunt is sunny from the outset. You can literally feel the sun on your face from the opening bars. That’s not to say that the symphony doesn’t offer moments of introspection and self doubt. It is a deep symphony that speaks poetically. The “walking bass line” of the second movement is just one of the moments of what seems to be a look into the soul of someone whose brain is so busy as to be housing multiple personalities. Sibelius continues his habit of ending movements of his symphonies almost abruptly, without the usual grand ritardando and long held note. He seems to be eager to get on with it.

So he does with his third movement scherzo which is constructed almost exactly like a Beethoven scherzo. Its busyness pauses momentarily for what can only be described as a song for various woodwind soloists with a pastoral quality that makes the interrupting brass that return us back to the scherzo seem like a practical joke, again, much like Beethoven would have done.

The seamless transition to the finale… well, after so many suppositions as to what Sibelius “meant” by this heroic, bold music with its undeniable fervor, it must be left up to the listener to decide whether this is a bit of nationalist pride or an unabashed celebration of D Major merely for its own sake. He negotiates the waters of modulation from major to minor and back again in as expert a manner as one could imagine like characters in an opera. Sibelius pulls out all the stops and, as he does so beautifully in his earlier Finlandia, he makes you wish you were a Finn by the time the last chords ring like a peal of bells.

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

At first blush, there doesn’t seem to be anything remarkable about the development of Carl Nielsen (1865-1931) from a budding violinist to Denmark’s best-known composer. In fact, critic Michael Steinberg’s description of the three year-old boy’s fascination with the different pitches coming from striking fire logs is downright cute. It sounds like something that could happen at anyone’s home today. His interest in the violin and the impressive qualities of the piano gave him an outlet for his expression that gave way to composition after the hearing the great masterworks during his teen years. He developed his ear and his talent at the Copenhagen Conservatory, earning money playing at Tivoli Gardens and even learning to conduct well enough to achieve respect among his peer musicians. His output was generous and undeniable in invention and in quality with six symphonies, several diverse concerti, chamber music works, and operas that put him at the top of the Danish musical food chain.

A black and white photograph of Danish composer Carl Nielsen from 1931
Carl Nielsen, composer

In his three-act comic opera, Maskarade, Nielsen seems to have taken his cue form the light wit of Johann Strauss Jr.’s operetta, Die Fledermaus, as a cue for some of his plot. It is essentially a farce revolving around, you guessed it, mistaken identities. The gist of the plot involves Leander and Leonora, who have met at a dance and become smitten with each other. Now this would be fine except that it was a masquerade ball and the infatuated pair wore masks. They had no way of knowing that they had already been promised one to the other by their fathers! Well no matter, as they have two more acts to get it all straight so that a happy ending can be declared with a final chorus of triumph and laughter. If only life were like that: confusion and bumbling that always ends up with song and a champagne toast in a scant three hours!

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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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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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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