. Interchanging Idioms: October 2012

Sunday, October 28, 2012

Cynicism in Classical Music—has skepticism become the norm?

People think there is a catch to TwtrSymphony


TwtrSymphony is an orchestra founded because I write orchestra music and need an orchestra to play it. The problem I face getting my music played by other orchestras is simple: Music Directors and Conductors are extremely busy. Even if they're willing to give my music a glance (and few of them are willing unless they already have a personal relationship with me), they often don't do more than listen to the first couple of minutes of music. If the music doesn't grab them by that point, they're done and my score goes no further. While some will accept midi realizations, again, these who do are by far the minority. Even those who accept midi realizations prefer live recordings. So, composers need live-orchestras to record their music if they have any hope of getting music played by a live orchestra — rather a catch-22.


I believe TwtrSymphony is the perfect solution to this conundrum. We perform 140 seconds (or 2 mins, 20 seconds) of music. Composers can select the best 140 seconds to show off a piece, have a live orchestra (TwtrSymphony) record it and really have something to give Music Directors and Conductors. We want to apply our techniques for other composers — to give them the opportunity to get a live recording of their music.


However, many composers I have spoken to aren't interested, they are skeptical, waiting for the catch. Has the classical music world become so cynical to think no one is going to offer help to up and coming composers?


Unfortunately, it's not just composers that are skeptical. A number of musicians I've spoken to about playing with TwtrSymphony are skeptical about the process. "What are we paid?" "Who profits from the sale of the music?" "How often will I be featured as a musicians?" are some of the questions I've been asked. While, right now no one is getting any money, we are tying to change that. Building an orchestra from the ground up–particularly one that is attempting such a radical change from the traditional form–takes time. We are looking at doing a Kickstarter in November/December for the primary purpose of getting money for the musicians. The pay won't be much, but it is a start. The current slate of musicians with TwtrSymphony are dedicated to the concept, not the money, and for that I am very grateful. Still, musicians work hard and deserve to be paid for their efforts.


In 2013, when TwtrSymphony becomes a non-profit organization—like the other orchestras in the US—the focus will be making sure the musicians have a fair portion of the pie. Because our musicians are based all over the world, becoming a union orchestra isn't even an option for us. So, the musicians will have to trust that TwtrSymphony has their best interests at heart. I hope to never abuse that trust, which is why the cynicism of many of the classical musicians I talk to concerns me.


The genesis of TwtrSymphony was a vanity project—a chance for me to get real orchestral recordings of some of my compositions. Over the past eight months it has become much more than that. I believe that TwtrSymphony can fill the void between new composers and the audience. It can create a mechanism whereby Music Directors and Conductors can discover new composers. It can provide a central place where the classical music audience can investigate the latest offerings of composers whose careers they wish to follow. It can serve to broaden the interest in new music and strengthen the commitment of standing orchestras towards unknown composers.


TwtrSymphony musicians share one basic trait—a dedication to the concept of playing new orchestra music—and getting it out to people who aren't your typical orchestra going audience. Our videos are extremely popular on YouTube (the first couple have over 1200 views each — that in less than 3 months). Over ninety-four hours of Our music has been listened to at 140 seconds at a time. We are reaching fans all over the world.


I feel very fortunate to be part of TwtrSymphony. While I started the Twitter account and, so far, have been the primary composer for the orchestra, I want it to be a resource for composers, musicians and Music Directors. TwtrSymphony is not just a cool concept, it can be a really useful tool to get new orchestra music out in the world. Hopefully, a symbol against the cynicism rampant in classical music today.

Sunday, October 21, 2012

Redshirts by John Scalzi - The Redshirts win in a most unexpected way

Book review


RedshirtsTypically this blog is about music, but there is more to my life than just music. So, today I branch out into discussing a book I just finished Redshirts by John Scalzi. It is a wonderful read, even for people who aren't Science Fiction fans, those who have no knowledge of Star Trek and the related issues with unexplained deaths of those who wear red shirts, and even people who prefer reading gritty crime novels, present day character studies or sappy romance books. Redshirts is a thought-provoking romp, with lots of comedy, philosophical questions and the appropriate number of tugs on the heart strings. In the end, the "Redshirts" win in more than just they get their own story — they get a back story we care about.

Redshirts are the people on the television show Star Trek who, for one reason or another (and often really lame reasons) end up dying, to give a sense of potential danger to the situation. "What's going to happen to the main characters is such a minor character can die so easily." They are there to set up the hero trope where Captain Kirk eventually triumphs in the face of adversity. But, because the Redshirts die, they never have much (if any) back story, they seldom have names and the actors who play them get the weeks paycheck and then get back to looking for work (as they can't appear on show again; they're dead).

John Scalzi doesn't just give back story to some of these characters—although he puts them in a different universe (a different television show, where their eventual demise is just as certain)—he makes them the heroes-the people who save the day. And then he goes the next step.

Redshirts is about the minor characters on a fictitious Sci-Fi television show and more. John takes his story, twists it about and puts one of his minor characters into the one we care most about, the one whose story makes the most difference. When you put down the book (if you're not grabbing for a box of Kleenex to wipe away the tears), you ponder what role you play in your own story. Are YOU a redshirt in your own narrative? What are you doing with your life to make your eventual death — we all die in the end — have some meaning?

Redshirts is also about relationships, as they are how we are defined in the end. Our relationships with friends, co-workers, loved ones are really what we leave when we depart this world. How we effect their lives is really what defines how we are remember in the future. John Scalzi examines this question for people who realize they are simply Redshirts, destined to die and they want their deaths to have meaning.

Don't let the deep subject matter throw you off. Redshirts is a hilarious book. There are parts that had me in stitches to point I couldn't continue reading I was laughing so hard. It is just this delightful humor to the story that allows John to reach further into questions we don't like thinking about. Yet, by the time we're thinking about them we hardly realized how many galaxies we've crossed to get there.

Will Redshirts change your life? I don't know. I guess it depends on when you get through it whether you feel like you're living your life as a Redshirt or not.

Thursday, October 18, 2012

#TwtrTpc Tech Thursday:

Tweet your Q's to #TwtrTpc to answers from the sound engineer professionals of TwtrSymphony all day today.


They'll try to answer questions on Twitter, but all your questions will be posted here tomorrow - with as many answers as possible. Also look for future posted with more in-depth answers to the more difficult questions.


WOW, the conversations were fast and furious today. A HUGE thank-you to Felipe for fielding so many questions. Although, I have a feeling anyone reading today's discussion will only have more. That's OK - you can tweet them to #TwtrTpc OR email to TwtrSymphony. We'll get you an answer!



ails: What programme should I se for my recording. Been using mixpadaudio on my laptop #TwtrTpc

Felipe Gonzalez: Hi: we have posted some options here… http://www.instantencore.com/buzz/item.aspx?FeedEntryId=215574

Jeff Freeman: #TwtrTpc I use a Zoom H2 as a USB mic into my Windows laptop. Mixcraft 6 is my software of choice.

Felipe Gonzalez: NIce recorder, but never heard of that DAW, is it good? #TwtrTpc

Jeff Freeman: I love it. acoustica.com and the value is amazing.


Janet K Bordeaux: #TwtrTpc I have no recording skills. Zycam digital recorder, no external mic. Copy that to computer. That's all I know to do.

Felipe Gonzalez: #TwtrTpc People: should we start with a basic article of sound and recording and move from there?,please let us know.

Felipe Gonzalez: #TwtrTpc Some great condenser mics for less than U$ 200 Rode M3, M-Audio Nova II, Blue Spark, MXL 603, Audio Technica AT 2020, SE X1

Felipe Gonzalez: #TwtrTpc Some great condenser mics for less than U$ 200 Studio Projects B1, AKG C2000B.

Shana Norton: #TwtrTpc I use Logic (which I don't really understand) on my Mac; have very good headphones. Failing at microphones. Thoughts?

Felipe Gonzalez: What mics do you have? #TwtrTpc

Shana Norton: Have a Blue "Eyeball" USB mic (for Skype) & a Sure 57(not 4 recording) On the + side, use Sony MDR-7506 headphones. #TwtrTpc

Felipe Gonzalez: Hi Shanna: what instrument do you want to record? #TwtrTpc

Shana Norton: Harp.

Felipe Gonzalez:  In that case, do a test with the 57, try 2 borrow a condenser, and try them. Then make a comparison and pick the best. #TwtrTpc

Felipe Gonzalez: #TwtrTpc Signal to Noise Ratio: the level between the desired audio signal against the noise. Noise is our enemy as is distortion.

Felipe Gonzalez: #TwtrTpc Signal to Noise Ratio: in low level recordings, the audio signal is too close to the noise floor, hence hard to remove.

Felipe Gonzalez: #TwtrTpc Signal to Noise Ratio: in high level recordings, the audio is very close to distort, and when it happens, can't be fixed.

Felipe Gonzalez: #TwtrTpc Signal to Noise Ratio: get the best audio signal from your instrument, away enough from noise and looking to the peaks.

Felipe Gonzalez: #TwtrTpc Signal to Noise Ratio: in all the DAWS, the level indicators shows Green when low level, Yelow with good S.T.N.R. and Red when max.

Eye Sack: more range in dynamics. quiet music can always be normalized or compressed; distortion fr excess volume hard 2 correct #TwtrTpc

Eye Sack: plus dynamic range is incredibly important in terms of tone, which is what helps makes orchestral music expressive! #TwtrTpc

Shana Norton: Thanks. I don't know what cables/adapters/audio interface I need with the 57; I only know how to plug in a USB mic! #TwtrTpc

Felipe Gonzalez: Please never dare to normalize, it will kill your music. #TwtrTpc

Felipe Gonzalez: Welcome to our world ;-) All depends no how much you can spend. #TwtrTpc

Shana Norton: Ha! I can borrow several good mics to experiment with & get a little pro coaching; sometimes Logic is beyond me! #TwtrTpc

Shana Norton: And, yes, the jokes about me struggling with Logic (and Reason) are legion in our household. #TwtrTpc

Felipe Gonzalez: A DAW is just a tool. Learn to use it, but always let your ears to judge. There's no "miraclezer" plugin. #TwtrTpc

Felipe Gonzalez: #TwtrTpc A great link…5 Things Everyone Can Do To Improve Their Productions

Shana Norton: #twtrtpc I have a learned helplessness w/sound engineering (amplification & recording). Working like a madwoman to overcome it. Thanks, all.

Eye Sack: more range in dynamics. quiet music can always be normalized or compressed; distortion fr excess volume hard 2 correct #TwtrTpc

Felipe Gonzalez: Please never dare to normalize, it will kill your music. #TwtrTpc

Wednesday, October 17, 2012

Home Studio 101: Quick thoughts by Felipe Gonzales

Felipe actually tweeted these gems to the musicians of TwtrSymphony, but they were SO good I had to share




Violin recorded with 1 mic at 1 mt, room by 2 mics. No eq, no edit no plugins.

Quick thoughts:

  • Headphones for recording?, Closed Back or In Ear type. On both cases not the cheap ones, here, more $ is better.
  • MAC, Windows or Linux OS?, it doesn't matter.If you setup the computer correctly, all of them will perform OK
  • Which Audio Interface?, one with at least 1 Mic input and headphones output, USB 2 or Firewire for faster speed.
  • An external Audio Interface will sound better than the computer built in, allowing better recordings from you.
  • DAW (Digital Audio Workstation) is recording software in your computer. Purchased software options: ProTools, Logic, DP, Cubase.
  • More purchased DAW options: Audition, Nuendo, Vegas.
  • Some free DAW options: Audacity and Ardour.

Felipe and Garry will get checking in on Twitter throughout Thursday to answer your technical questions. Tweet #TwtrTpc to get an answer.

#TwtrTpc Dynamics: What are ways TwtrSymphony can communicate dynamics to the musicians?

Following up on some of what was discussed yesterday:
What are some of the way TwtrSymphony can effectively communicate the different dynamic levels to the various musicians considering none of the musicians are in the same room?


Right now these are all issues resolved in the editing room. A number of musicians commented about the struggle to get the right dynamic levels for their recording not playing in the same room with the rest of the ensemble. So... how we do resolve this:


It has already been suggested we create principal chair positions, who play the first parts to provide a guide for the rest of the musicians. Are the other options? What does this mean for the principal players and how do we get them to have the same dynamic levels?




The conversation wasn't as active today, but still some good points to take away. We even had a comment from someone outside of TwtrSymphony — of course, those comments are welcome too.

  • More dynamic markings in the score
  • Use composite microphones to get a better recording (more on this tomorrow, I'm sure)
  • Remember to maintain energy in the performance

Here's a transcript of today's discussion:

Bonnie Gartley: #twtrtpc maybe if there could be more dynamic markings to give an idea of crescendo timing. Mostly hearing it helps for me

Jeff Freeman: I am thrilled w how many good ideas were tweeted about today on #TwtrTpc

Matt Erion: As I composite tracks, I adjust mic position to enhance dynamics. #TwtrTpc

Matt Erion: But as I lead my own bands I always remind that dynamics are relative and not equal from piece to piece. #TwtrTpc

PlayBrass: and from venue to venue #TwtrTpc

Jeff Freeman: #TwtrTpc I think that tweaks to our process could be improved, especially by section, but after that, we are at the mercy of the mix.

Jeff Freeman: #TwtrTpc At the end of the day, this is a recording project. What we do dynamically, stylistically, and musically should be as together as possible.

Jeff Freeman: #TwtrTpc Dynamics are still important so that the energy of the music is there. I may record a F, but will be mixed in at a lower volume, but my energy is at least being captured. All this is what makes the @twtrsymphony unique! So many logistics. Exciting!

Janet k Bordeaux: #TwtrTpc Dynamics.tough subject! Loud/soft, cres/decres-can be engineered (?) But inflection, emotion-much harder to sync sound


Tuesday, October 16, 2012

#TwtrTpc What are the issues playing with a virtual orchestra?

TwtrSymphony examines what's it like to play in a virtual orchestra with today's Twitter Topic (TwtrTpc)


We'll be following TwtrSymphony musicians today to see how they respond to today's topic. - so come back tomorrow to see what they've said - and catch tomorrows TwtrTpc


As the Music Director/Composer-in-Residence, I'm familiar with the tracks as they come in. It's surprising to me how good two individual tracks can sound. Yet put them together and the slight differences between attack and release are extremely noticeable. Trying to write music that allows musicians a chance to express themselves and yet capture that ensemble, everyone playing together feeling is a real challenge.


It was a lively discussion today — obviously one we should have done months ago. We chatted about:

  • the difficulties of not being in the same room
  • potentially using skype or Ninjam as an alternative
  • struggling with the concepts of dynamics (and tempo)
  • lots of information about recording
  • using section leaders and sample recording more than just click tracks

Felipe and Garry are going to start Thursday Tech days where the TwtrTpc will be technical. It won't be so much a question, as a place where YOU can post questions and our technical experts will answer them. And if you can't catch the conversation live on Twitter, it'll be posted here on Friday. So, start thinking about what technical issues you'll like to resolve.

Here is a detailed rundown of what was said o TwtrTpc today:

Bonnie Gartley: I wish we were all in the same room, but we have so much interaction on twtr it seems like we're always together #TwtrTpc

Bonnie Gartley: also waiting for new music to come. I wish we could play more & really like the music we get :) #twtrtpc

Jonathan Hunt: I wish that we could jam via Skype or FaceTime. If only latency weren’t an issue :( has anyone tried?! #twtrtpc

Chip Michael: Another problem is the 'cut out' of the mics on internet vid rooms. One mic becomes primary...

Bobbi Blood: We might want to look into Ninjam for jam sessions. #twtrtpc Jonathan Hunt: let’s try it sometime! I’m intrigued to see how prohibitive the latency really is! #twtrtpc

Bobbi Blood: Ninjam basically stretches the usual internet delays and makes it to where you hear 1m behind what everybody plays. #TWTRTPC

Bobbi Blood: Those interested in looking up Ninjam, go to ninjam.com to find out more. The results are quite intriguing. #twtrtpc

Bonnie Gartley: Bobbi, we're already writing new rules for orchestras :). why not for jam sessions too #twtrtpc

Jessica Mullen: I feel like performer/conductor. For ex: Deciding on what the ensemble concept of forte is while sitting alone in my living room. #twtrtpc

Jessica Mullen: Interesting discussion on Skype. For sake of discussion, if we move that direction how would we stay true to @twtrsymphony concept? #twtrtpc

Felipe Gonzalez: What mic should I use to record?, a condenser for strings, a dynamic for winds & percussions, both set to a good level, helps a lot #TwtrTpc

Felipe Gonzalez: Hear your instrument, and place the mic between 30 to 60 cmts. of the sound source, hopefully in a quiet place to avoid noise. #TwtrTpc

Felipe Gonzalez: Always check your levels, too low is close to noise, too hot is close to distortion and we don't want any of them ;-) #TwtrTpc

Felipe Gonzalez: Look the colors on your DAW meters, Green is good but Yellow is better!, always avoid Red, specially when recording. #TwtrTpc

Felipe Gonzalez: Always LISTEN to the recorded piece, if it doesn't sound good to you, it doesn't sound good, try it again ;-) #TwtrTpc

Jessica Mullen: Felipe, Good info! I get sidetracked by performance & turnaround time & recording quality sadly becomes an afterthought. #TwtrTpc 1/2

Jessica Mullen: Felipe, Hoping to change that and I will try your suggestions. Thanks! 2/2 #TwtrTpc

Matt Erion: Context is pretty tough. My pitch reference comes from hearing the ensemble as well as the section. #twtrtpc #TwtrSymphony

Janet K Bordeaux: #TwtrTpc @twtrsymphony The biggest issue for me is alignment to the click track. It would help me to hear a measure or two of music as cue

Janet K Bordeaux: #TwtrTpc Yes, I see your point! Wonder what would happen if each section had leader who recorded the part instead of clicktrk

Matt Erion: More music? Back away from the twitter… #TwtrTpc #TwtrSymphony

Janet K Bordeaux: Felipe You assume we all know what DAW meters are, and that we have them! #TwtrTpc

Felipe Gonzalez: No worries Janet :-) Digital Audio Workstation, the audio software on your computer, and yes, all of them has it ;-) #TwtrTpc

Janet K Bordeaux: Depends on your instrument. Flute is better with mic father away.#TwtrTpc Felipe Gonzalez: Not always, but since you are the musician, and you know your instrument very well, your ears are the judges #TwtrTpc

Janet K Bordeaux: Different abilities/equipment make it tough! I don't have expensive recording equipment, and bearing know how to use what I have! #TwtrTpc

Felipe Gonzalez: That's why we are here to help :-) #TwtrTpc

Felipe Gonzalez: Guitar recorded with 2 condenser mics for direct source, 2 for room, no eq, no plugins, direct to ProTools #TwtrTpc YouTube Video

Janet K Bordeaux: Wonder what would happen if each section had a leader who recorded the part instead of clicktrk - #TwtrTpc

Diljeet Bhachu: #TwtrTpc Tuning - can be difficult when everyone's in the same room, so in a virtual environment I don't know how it could be dealt with.

Felipe Gonzalez: Janet, please review this flute video, the sound is coming from 2 mic, no eq, no edits,no plugins #TwtrTpc YouTube video

Alison Wrenn: #TwtrTpc Musical shaping, how much to crescendo etc, Can't really rit or accel as it would never be together!

Felipe Gonzalez: Piano Recorded with 2 mics for the main sound, 2 for the room, no eq, no edits, no plugins #TwtrTpc YouTube Video

Bonnie Gartley: I agree! I liked when we had a midi instrument w/ the click track to hear the shape of phrases #twtrtpc

Jessica Mullen: Curious if note lengths were any different in first round of recordings w/ MIDI file. #twtrtpc

Shana Norton: My recording set-up (& technical know-how) is improving, but is still very modest (i. e., I don't really know what I'm doing).

Felipe Gonzalez: Feel free to ask Shana!

Shana Norton: Thanks; I will. How about a Home Studio 101 Skype/FaceTime session for any @twtrsymphony folk who need coaching? #TwtrTpc

Monday, October 15, 2012

Tremulando Dança - The latest track from TwtrSymphony







"Tremulando Dança" is the third movement and is Portuguese for Fluttering Dance. As might be typical for a third movement in a classical symphony the minuet and trio is used with a nod toward the Scherzo or "joke." The music dances about in an altered rumba beat for the minuet, with the trio a modified waltz with some unlikely shifts in the beat. The minuet keeps the heavy use of 13/8 as the main underlying meter.


You can download the music from TwtrSymphony's website: twtrsymphony.instantencore.com.


Want to get involved? TwtrSymphony is always looking for new people who want to connect with other musicians from around the world. Click here for more information.

Wednesday, October 10, 2012

TwtrSymphony's Tremulando Dança to be available for download Monday, October 15th

Pre-release copies are available NOW for FANS ONLY



Monday, October 15th, TwtrSymphony will release the long awaited 3rd movement of Symphony No. 2 Birds of a Feather, "Tremulando Dança." This piece, which some of our musicians called, "the most difficult, yet rewarding music" is finally out of the studio and ready for the public.


Sound Engineers Garry Boyle and Felipe Gonzalez have been working on this track now for nearly two months. When you hear the complexity of the voicing, the interweaving rhythms and the intricate interplay of the various melodies you'll understand their struggle. Complicating their efforts is the fact that none of the musicians recorded their parts in the same room. The whole concept of TwtrSymphony is connecting musicians from around the world. So, "Tremulando Dança" is a piece comprised of recordings from all over, brought together in the studios of Garry (in Edinburgh Scotland) and Felipe (in Concón, Chile) to create the end product.


The challenge for TwtrSymphony musicians and engineers is to keep the sense of live performance in the music. When sixty-plus musicians are recording their parts individually, without the benefit of hearing what other musicians have done, the result is sixty-plus interpretations to how each note should be played. Through gentle massaging of the recorded tracks, the engineers have pulled together their best work yet.


Sarah Richardson created a video for "Tremulando Dança" which will also launch on Monday. People will be able to stream the music live from TwtrSymphony's website, download the music or play the video on YouTube. The previous track "Birds of Paradise," released in August, reached over 1000 views in just ten days. If this is any indication of TwtrSymphony's growing popularity, "Tremulando Dança" should be even more popular as the rumba-like dance rhythms of the piece are infectious.


Fans of the TwtrSymphony website have a special bonus: right now, downloads for FANS ONLY are FREE. For a limited time, the 1st two movements are being made available for fans, but will be removed from availability next week when Tremulando is available to the public.


TwtrSymphony, conceived by Chip Michael in March 2012, has steadily gained in popularity, reaching over 1400 twitter followers. While no one on the project is paid for their efforts, the quality of their output is getting recognition from newspapers and bloggers around the world with articles appearing in the traditional press as well as online editions.


The first piece Symphony No. 2 Birds of a Feather, written by Chip Michael specifically for the musicians of TwtrSymphony gets to the very core of what it is to be a symphony. Written in four movements, each movement is less than 140 seconds (2 mins, 20 seconds) long, keeping with the premise of TwtrSymphony — to distill the essence of music. Each movement keeps with the tradition of past great composers of symphonies, the first movement in Sonata Allegro form, the second is a slow, introspective work, the third is a scherzo and the fourth (yet to be released) is a theme and variations. Not only does the music capture the essence of what it is to be a symphony, Chip Michael also feels it is important for every part to be fun and relevant to the music. "For a project designed to bring together musicians from around the world, it is important each musician feel integral to the project and not just play a couple notes here and there or just provide a steady beat," said composer Chip Michael.

Saturday, October 6, 2012

Cellist Alisa Weilerstein Performs Elgar And Carter Concertos On Her Debut Recording For Decca Classics To Be Released On October 30, 2012 In North America


On October 30 in North America Decca will release the debut album of American cellist Alisa Weilerstein. The album features the Edward Elgar and Elliott Carter Cello Concertos, and Max Bruch’s Kol Nidrei performed with conductor Daniel Barenboim and the Berlin Staatskapelle. Ms. Weilerstein signed an exclusive recording contract with Decca in October 2010 and is the first cellist to sign with the record label in over thirty years.

Ms. Weilerstein said, “It has been a thrill to work with Decca Classics. Performing and recording the Elgar Concerto with Maestro Barenboim has immeasurably deepened my relationship with the work, and it has been an honor to record Elliott Carter's Concerto. The Staatskapelle Berlin has been an outstanding musical partner, and I can't say enough about my producers Andrew Keener and Friedemann Engelbrecht. I am so excited to finally share with the world what has been, for me, an unforgettable experience in every way.”

Ms. Weilerstein gave a special performance with Mr. Barenboim and the Berliner Philharmoniker in May 2010 during an internationally televised concert of the Elgar cello concerto in Oxford, England. The concert holds special significance for both Ms. Weilerstein and Mr. Barenboim since this was the first time Mr. Barenboim performed the work in England with a female cellist since the untimely passing of his wife, cellist Jacqueline du Pré. This concert was released on DVD by EuroArts.

Following this 2010 performance The Guardian said, “Alisa Weilerstein gave the most technically complete and emotionally devastating performance of Elgar’s Cello Concerto that I have ever heard live…”

Ms. Weilerstein’s 2012-13 season includes engagements throughout North America and Europe. On November 1 Ms. Weilerstein will perform Haydn’s D major Cello Concerto with conductor Nicholas McGegan and the Orchestra of St. Luke’s at Carnegie Hall. She will then perform at Alice Tully Hall with pianist Inon Barnatan and violinist Arnaud Sussmann for the Chamber Music Society of Lincoln Center on November 2 and 4. Ms. Weilerstein will also perform with the Philadelphia Orchestra, and the Atlanta and National Symphonies. She will take part in a European tour to Germany, Spain and the Netherlands with Mr. Barnatan, and make her debut with the Academy of St. Martin in the Fields during a 16-city United States tour with Mr. Barnatan.
Ms. Weilerstein was named a MacArthur Foundation Fellow in September 2011. Previous awards include Lincoln Center’s Martin E. Segal prize for exceptional achievement in 2008, the 2006 Leonard Bernstein Award, and the 2000 Avery Fisher Career Grant.