Karin Bjurman

Meet the Musicians

I’ve always wanted to be a musician. When I was seven years old at after-school care in Lycksele and had to write down what I wanted to be when I grew up, I wrote “cellist.” I’d been playing for just a month at that point. I kept playing until I was 12 or 13. Then I stopped because it became more important to do—and be—like everyone else. I worked hard to fit in. In high school, I chose the healthcare track, and when I was 18, I started playing again. Through that, I found my way back to myself and applied to Framnäs Folk High School in Piteå, where I attended for two years.

After that, I attended the Stockholm College of Music; I continued my studies at the Edsberg Music Institute for four years, and during that time I also had children. My daughter Linnea became the school’s mascot. She is 27 years old today, and my youngest, Tuva, is 13.

I received my diploma in 1997 and have studied under Frans Helmersson, Torleif Thedéen, and Ola Karlsson.

After working as a nursing assistant in the emergency rooms in Storuman and Sorsele and as a music teacher in Lycksele, I moved to Umeå. I was a single mother, and not only did Umeå seem like a good place for my child to grow up, but I also had high hopes of one day getting a job with the Norrlandsoperan Symphony Orchestra. In 2000, I started working here as a substitute. Since 2002, I’ve been a permanent employee.

It was my dad who got me interested in the cello and inspired me to start playing. We were at a concert in Lycksele, and there was a teenage boy playing the cello—and as a 6-year-old, I was really impressed. My three older brothers play the trumpet, violin, and flute. We actually played together as a family orchestra when we were little—we even appeared on TV! I think it’s, if not a prerequisite, then at least very valuable to have a parent who’s also passionate about what you do and can support and inspire you. Dad would sometimes play along with us kids, too.

The best thing about my job is my coworkers and the sense of camaraderie. We do this together, creating music and striving toward the same goal. We give something to each other, and then it’s amazing to be able to share that music with others. Playing music makes me feel so good! It drives me, and it makes me feel really great. It’s almost surreal to get to work on what I’ve always dreamed of—especially at the Norrlandsoperan, where I hoped I’d eventually end up when I moved to Umeå. It’s a fantastic place to work.

I’m proud of my advanced education, of my extensive knowledge of music, and of having these skills. I set my sights high, and I always feel like I should have practiced more—I’m rarely satisfied. But I’ve been playing for a long time now, and I can play very difficult pieces and correct any mistakes without anyone noticing. Over the years, you get pretty good at faking it! Of course, you don’t need to practice less as you get older just because you have more experience, but we play a lot and often, and lately I’ve lowered my standards—I do my job as well as I can given my circumstances. You have to be patient with yourself. The day I feel like I’m no longer up to the task—that’s when I’ll quit.

Bach is my absolute favorite. He was simply absolutely outstanding! The cello suites and violin sonatas are fantastic! To me, his music is complete. Bach is the very essence of music! He captured everything and was a pioneer for everyone who “came after him”—that’s how I see it. I also like Romantic, more emotionally driven music, but Bach is my greatest role model, and being able to play his music is simply wonderful.

As part of an orchestra, I really enjoy playing Tchaikovsky with romantic cello solos. I also think string orchestras offer the most fun repertoire. Of course, it’s especially impressive to play big, grandiose pieces with a full symphony orchestra, but chamber music is also wonderful. Opera isn’t my favorite thing—but that’s mostly because I don’t like sitting in the orchestra pit!

There’s something special about being able to reach new audiences through music. Something I particularly appreciate is when we get the chance to perform various crossover concerts with pop artists. I hope our repertoire will continue to be broad, with variety and an openness to all genres.

I don’t think I’m the only musician who relies on self-confidence to play as well as possible. You need to be well prepared, feel good about yourself, and—feel your best. For your own sake and so that your performance will be as good as possible. Once, I’d forgotten my concert clothes at home and had to borrow a few pieces from kind colleagues. Since the clothes weren’t mine, none of them fit very well, and I wasn’t exactly excited about going on stage… In the middle of the concert, a string snapped, and I had to leave my seat—with my cello and all—and walk out, right in the middle of the concert. Of course, in front of a packed house…

The outdoor opera *Elektra* is the greatest highlight of my career. It was completely crazy in every single way! Logistically, financially… the huge docks, the cranes… And then there was the weather! It was unbearably hot outside, and we were sitting indoors rehearsing, with the fans running, and everyone arguing about whether it was too hot or too cold—someone caught a cold, some were constantly freezing near the fans, and others were sweating in the gym where we were playing. There were so many of us musicians, all striving to give it our absolute best, and there was an incredible sense of teamwork. The whole experience was so special for everyone involved—including the audience.

Elektra is by far the most fun—and at the same time the most demanding—thing I’ve ever done professionally. The piece I was going to play is the hardest thing I’ve ever done, both in terms of playing technique and musical notation. I practiced constantly for four weeks during the summer break, but it still wasn’t enough. Yeah, it was a real challenge, but also a lot of fun. I’ll never forget it.