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 once said that “England and America are two countries separated by the same language!” As an American living in London when these recordings were made, I can attest to that sentiment! Perhaps my own grappling with the ever witty Bernard Shaw is found on this set of recordings, with pieces from the UK and the USA that span nearly 122 years of musical history. While many of the musical materials used by these 5 composers are similar, with an emphasis on folk music, classical idioms, and a generally warm and Romantic sensibility, they could not be more different from each other.

Ethel Smyth and Edward Elgar were born just one year apart, and Smyth’s Serenade and Elgar’s Chanson de Matin and Chanson de Nuit were written in the same year (1889). They are early works, long before either of them had achieved notable success. Of course, Elgar would go on to become one of our most beloved composers, while Smyth’s music has only recently emerged from almost total obscurity. Smyth truly was one of the most interesting people who ever lived, with interests ranging from a career as a composer, as a prolific writer, to her social activism as a Suffragette in the UK. This activism was perhaps her most lasting legacy, with her March of the Women serving as the unofficial anthem of the Suffragette movement. There is not space here to detail Smyth’s political exploits, but they make for entertaining and inspiring reading. In the musical context, I have loved Smyth’s work since I encountered it for the first time nearly 10 years ago. Smyth studied for a brief period with Johannes Brahms, and Brahms apparently had some level of respect for Smyth’s music, quite high praise for someone with attitudes towards women like Brahms notoriously had. Her music, especially these two early works, shows this Brahmsian influence clearly. Smyth was a musical polyglot however, and one can hear allusions to the music of Wagner as well. Perhaps coming from outside of the so-called War of the Romantics allowed Smyth to pick and choose what she liked from each camp and to incorporate it into her own music. With all of this said, what I love about Smyth’s music, is that like all great composers, Smyth takes in all of these influences, and then creates something uniquely her own. The simple grace of her String Quintet is irresistible with its kind hearted melodies. On the other hand, I am always awed by the emotional variety of her Serenade, from its deeply Brahmsian D Major first movement to its raucous last movement. For those encountering Smyth’s music for the first time, I think these two early examples of her work are a perfect introduction. [..]

It is one of my special passions to combine works of composers who are quite well-known with those who are less familiar to the general audience. It is an honor and privilege to be releasing the first commercial recording of Ethel Smyth’s String Quintet as arranged for string orchestra by the composer, only the second recording of her Serenade, and the first commercial recording of William Grant Still’s Mother and Child for string orchestra. I hope that this exploration of the unfamiliar and the familiar together will prove as rewarding to you as it was to myself and to the musicians of the Lausanne Chamber Orchestra, who were faithful and enthusiastic partners throughout the recording process.

I would like to add special thanks and appreciation here to the late John Heiss, a professor at the New England Conservatory of Music, and one of my great inspirations in taking on the challenge of recording Three Places in New England, as well as my parents, who were playing Ives’ music for me even before I was born, instilling in me a lifelong love for this American Maverick.

Orchestre de Chambre de Lausanne
Joshua Weilerstein, conductor

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.

This album contains no booklet.