American and English Orchestral Music Orchestre de Chambre de Lausanne & Joshua Weilerstein

• Charles Ives (1874 - 1954): Three Places in New England, S. 7:
• 1 Ives: Three Places in New England, S. 7: I. The St. Gaudens' in Boston Common 09:32
• 2 Ives: Three Places in New England, S. 7: II. Putnam's Camp, Redding, Connecticut 06:25
• 3 Ives: Three Places in New England, S. 7: III. The Housatonic at Stockbridge 04:11
• Ethel Smyth (1858 - 1944): Suite for Strings, Op. 1A:
• 4 Smyth: Suite for Strings, Op. 1A: I. Allegro con brio (re-arrangement from String Quintet, Op. 1) 06:38
• 5 Smyth: Suite for Strings, Op. 1A: II. Andantino poco allegretto (re-arrangement from String Quintet, Op. 1) 02:43
• 6 Smyth: Suite for Strings, Op. 1A: III. Scherzo. Allegro vivace (re-arrangement from String Quintet, Op. 1) 04:29
• 7 Smyth: Suite for Strings, Op. 1A: IV. Adagio con moto (re-arrangement from String Quintet, Op. 1) 04:37
• 8 Smyth: Suite for Strings, Op. 1A: V. Allegro molto (re-arrangement from String Quintet, Op. 1) 06:24
• William Grant Still (1895 - 1978): Mother and Child (from Suite for Violin and Piano):
• 9 Still: Mother and Child (from Suite for Violin and Piano) 07:24
• Ethel Smyth: Serenade in D Major:
• 10 Smyth: Serenade in D Major: I. Allegro non troppo 11:15
• 11 Smyth: Serenade in D Major: II. Scherzo 05:59
• 12 Smyth: Serenade in D Major: III. Allegretto grazioso 06:21
• 13 Smyth: Serenade in D Major: IV. Finale 09:44
• Caroline Shaw (b. 1982): Entracte:
• 14 Shaw: Entracte 11:29
• Edward Elgar (1857 - 1934): Two Pieces, Op. 15:
• 15 Elgar: Two Pieces, Op. 15: I. Chanson de matin 03:48
• 16 Elgar: Two Pieces, Op. 15: II. Chanson de nuit 04:43
• Total Runtime 01:45:42

Info for American and English Orchestral Music

George Bernard Shaw sagte einmal: „England und Amerika sind zwei Länder, die durch dieselbe Sprache getrennt sind!“ Als Amerikaner, der zum Zeitpunkt der Aufnahme dieser Werke in London lebte, kann ich dieses Gefühl bestätigen! Vielleicht findet sich hier meine eigene Auseinandersetzung mit dem stets witzigen Bernard Shaw wieder, mit Stücken aus Großbritannien und den USA, die fast 122 Jahre Musikgeschichte umfassen.

Obwohl viele der von diesen fünf Komponisten verwendeten musikalischen Materialien ähnlich sind, wobei der Schwerpunkt auf Volksmusik, klassischen Redewendungen und einer allgemein warmen und romantischen Sensibilität liegt, könnten sie unterschiedlicher nicht sein. Eine meiner besonderen Leidenschaften ist es, Werke bekannter Komponisten mit solchen zu kombinieren, die dem breiten Publikum weniger bekannt sind. Es ist eine Ehre und ein Privileg, die erste kommerzielle Aufnahme von Ethel Smyths Streichquintett in der von der Komponistin für Streichorchester arrangierten Fassung zu veröffentlichen, die erst zweite Aufnahme ihrer Serenade und die erste kommerzielle Aufnahme von William Grant Stills Mother and Child für Streichorchester.

Ich hoffe, dass sich diese gemeinsame Erkundung des Unbekannten und des Vertrauten für Sie als ebenso lohnend erweisen wird wie für mich selbst und die Musiker des Kammerorchesters Lausanne, die während des gesamten Aufnahmeprozesses treue und begeisterte Partner waren. (Joshua Weilerstein)

Orchestre de Chambre de Lausanne
Joshua Weilerstein, Dirigent

Joshua Weilerstein
is the Artistic Director of the Orchestre de Chambre de Lausanne, where his contract has been extended through the 2020/21 season. Weilerstein enjoys a flourishing guest conducting career and has established a number of close relationships in both the U.S. and Europe, including the Orchestre Philharmonique de Radio France, Deutsche Kammerphilharmonie Bremen, Bergen Philharmonic, Royal Stockholm Philharmonic, Finnish Radio Symphony, New York Philharmonic, and the symphony orchestras of Baltimore, Detroit and Milwaukee, among others. Praised for “intense, eloquently moving and spectacularly knife-edge” performances, Weilerstein is highly sought after and respected for his enthusiasm and profound insight into composers spanning from Gesualdo to Rouse.

Highlights of Weilerstein’s 2020/21 season include a return to the London Philharmonic Orchestra in a live-streamed performance, three live-streamed programmes with the Royal Liverpool Philharmonic Orchestra, his debut with the Gürzenich Orchestra Cologne, and return engagements with NDR Radiophilharmonie Hannover, Danish National Symphony, Oslo Philharmonic, Belgian National and Netherlands Philharmonic orchestras.

Over the past six seasons, the Orchestre de Chambre de Lausanne has thrived under Weilerstein’s leadership and cemented its reputation as one of Europe’s leading chamber orchestras. Weilerstein has greatly expanded the scope of the orchestra’s repertoire, and together they have released successful and critically acclaimed recordings, and toured throughout Europe, joined by soloists such as Juan Diego Florez, Lucas Debargue, and Albrecht Mayer.

Born into a musical family, Joshua Weilerstein’s formative experience with classical music was as a violinist on tour to Panama and Guatemala with the Youth Philharmonic Orchestra of Boston, where the orchestra performed for thousands of young people who had never heard a live orchestra concert. This sparked a desire in Weilerstein to pursue a career in classical music. While pursuing his Master’s degree in violin and conducting at the New England Conservatory, Weilerstein won both the First Prize and the Audience Prize at the Malko Competition for Young Conductors in Copenhagen in 2009. He was subsequently appointed as Assistant Conductor of the New York Philharmonic, where he served from 2012-2015.

Weilerstein is deeply committed to programming both traditional and contemporary repertoire and endeavours to present music from under-represented composers at each concert. He hosts a wildly successful classical music podcast called “Sticky Notes” for music lovers and newcomers alike, which has been downloaded nearly a million times in 154 countries. An advocate for easy communication between the audience and the concert stage, Weilerstein encourages discussion about all aspects of classical music, programming, and the experience of concert-going.

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