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Lera Auerbach
 
Discography back to discography
CD Title
24 Preludes for Violin and Piano
Artist(s): Gluzman, Vadim (Violin) Yoffe | Angela (Piano)
Description: Auerbach: 24 Preludes for Violin and Piano Auerbach: Postlude Auerbach: T'filah
Label: BIS Records
Release No: 1242
AISN: B00009W8M3
UPC: 546587
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Notes:

World Première Recording
10/10 Classicstoday.com

Total Time: 68'06 

Lera Auerbach
Twenty-Four Preludes for Violin and Piano, Op.46 (1999)
  1. No.1 in C major 4'33
  2. No.2 in A minor 1'37
  3. No.3 in G major 2'05
  4. No.4 in E minor 0'52
  5. No.5 in D major 2'12
  6. No.6 in B minor 3'40
  7. No.7 in A major 0'50
  8. No.8 in F sharp minor 3'02
  9. No.9 in E major 0'55
  10. No.10 in C sharp minor 1'20
  11. No.11 in B major 1'57
  12. No.12 in G sharp minor 2'09
  13. No.13 in F sharp major 2'01
  14. No.14 in E flat minor 1'42
  15. No.15 i C flat major 1'33
  16. No.16 in B flat minor 3'26
  17. No.17 in A flat major 1'58
  18. No.18 in F minor 4'29
  19. No.19 in E flat major 2'54
  20. No.20 in C minor 3'02
  21. No.21 in B flat major 2'04
  22. No.22 in G minor 1'51
  23. No.23 in F major 2'05
  24. No.24 in D minor 5'37

  25. T´filah (Prayer) for violin solo (1996) 5'12

  26. Postlude for violin and piano (1999) 2'48

Vadim Gluzman, violin
Angela Yoffe, piano

Reviews:

Born in Chelyabinsk in 1973, Lera Auerbach defected from the former Soviet Union to the United States while still in her teens, and she has since garnered much attention as both pianist and composer, notably in her recent work with Gidon Kremer. Written in 1999, Auerbach's 24 Preludes for Violin and Piano amply showcase her stylistic leanings and wide emotional range. Clearly, she's imbibed from the Shostakovich/Schnittke watering hole, as we hear in the frequent sparse textures in extreme registers, petulant dynamic shifts, obsessive pedal points, and caustic, folk-oriented tunes. Auerbach also has figured out what makes Astor Piazzolla tick, and manages to personalize his sultry harmonic idiom. Not only do I want to hear more of Auerbach's music, but I also hope BIS plans to take advantage of her wonderful piano playing on future releases. Enthusiastically recommended.
---Jed Distler, ClassicsToday.com

This richly allusive music can be heard as a kind of opus summa of violin writing from the last several centuries...dig into this modern masterpiece with hands, fists and hearts...recomended without hesitation..."
---Chicago Tribune

Lera Auerbach may have defected to the US in the dying days of the Cold War, but her music’s quixotic personality is shaped decisively by her Russian upbringing and Jewish heritage.”---The Strad, October 2003“This outrageously talented Russian-born artist is also an award-winning poet and a highly praised pianist and her 1999 set of preludes has plenty of poetry and instrumental élan. Lasting 59 minutes, many of the preludes are played attacca which gives the impression on an ongoing psychological drama and both instrumentalists are treated to soloistic writing in an accessible, post-Modernist, often dramatically Romantic idiom which will replay frequent listenting.
---Records International Catalogue

Written in 1999, Auerbach’s 24 Preludes for Violin and Piano amply showcase her stylistic leanings and wide emotional range. Clearly, she’s imbued from the Shostakovich / Schnittke watering hole, as we hear in the frequent sparse textures in extreme registers, petulant dynamic shifts, obsessive pedal points, and caustic, folk oriented tunes … Not only do I want to hear more of Auerbach’s music, but I also hope BIS plans to take advantage of her wonderful piano playing on future releases. Enthusiastically recommended.
---www.classicstoday.com

Auerbach’s music is eclectic, … put together with tremendous passion and imagination … the way she welds so many memorable moments into a convincing extended sequence shows a real composer at work. We’re likely to hear a lot more of her.”
---Gramophone

While they exhibit touches of modernism in their nods in the directions of Prokofiev, Shostakovich, Schnittke, and Messaien, on the whole Auerbach’s 24 Prelude hark back to the 19th century tradition of the instrumental virtuoso as composer. This is most definite red-meat-and-red-wine music, not tofu-and-green-tea music.
---Stereophile

The music is explicity tonal, but there’s little interest in harmonic nuance. Instead there is drama, big-time theatrical grab-the-audience-and shake-them-by-the-neck drama: bold, large-scale gestures, biting dissonance and ethereal concords, extreme registers and unusual timbres, huge contracts in dynamics, uninhibited passion and sardonic mockery … Whatever they are, these 24 Preludes are not bland, modest, subtle or sedate. Vadim Gluzman and Angela Yoffe played like they’re possessed, which is just what the music requires.
---American Record Guide

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