Auerbach Catalog
Auerbach Catalog
Auerbach Catalog
a u e r b a c h
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co n t e n t s
sikorski Musikverlage
20139 hamburg
phone: (+ 49) (0)40 / 41 41 00-0 · fax: (+ 49) (0)40 / 41 41 00-41
www.sikorski.de · [email protected]
2 4 n o v e mb e r 2 0 2 1
Lera Auerbach, the Russian-American composer, poet, writer, visual artist and concert
pianist who performs regularly in major halls throughout the world, has published more
than 100 works for orchestra, opera and ballet, as well as choral and chamber music. Au-
erbach was born in the Russian city of Chelyabinsk on the border of Siberia. As pianist and
composer, she graduated with bachelor’s and master’s degrees from the Juilliard School
in New York and received her post-graduate degree as a concert pianist from the Hanover
University of Music, Drama and Media in Germany.
Her compositions are performed worldwide by leading musicians, including violinists Gi-
don Kremer, Leonidas Kavakos, Vadim Gluzman, Philippe Quint, Hilary Hahn, Vadim
Repin, Daniel Hope, Julian Rachlin, Nadja Salerno-Sonnenberg and Dmitry Sitkovetsky;
violists Kim Kashkashian and David Aaron Carpenter; cellists Alisa Weilerstein, Gautier
Capuçon and David Geringas; and singers Zoryana Kushpler, Natalia Ushakova, Martin
Winkler, Nikita Storojev and Stella Grigorian, among many others. Auerbach has written
eight string quartets that have been championed by the Tokyo, Borromeo, Parker, Jasper,
Ying, Peterson, Artemis, Granados and RTÉ Vanbrugh string quartets.
Auerbach's works for orchestra are performed by the world’s leading conductors, inclu-
ding Christoph Eschenbach, Vladimir Fedoseyev, Vladimir Spivakov, Neeme Järvi, Vladi-
mir and Dmitri Jurowski, Charles Dutoit, Andris Nelsons, András Keller, Hiroyuki Iwaki,
Osmo Vänskä and Tõnu Kaljuste.
Choreographers and stage directors such as John Neumeier, Aszure Barton, Goyo Monte-
ro, Terence Kohler, Sol León, Paul Lightfoot, Medhi Walerski, Reginaldo Oliveira, Christi-
ne Milietz, and John La Bouchardière have staged Auerbach’s ballets and operas, which
have been produced in major theaters on every continent, including the Hamburg State
Opera, Vienna’s Theater an der Wien, New York‘s Lincoln Center, the National Ballet of
Canada, the National Ballet of China, the Royal Danish Theater, the Nuremberg State The-
ater, the Finnish National Theater, Moscow’s Stanislavsky Theater, the Netherlands Dance
Theatre, the San Francisco Ballet and numerous others.
Auerbach has been composer-in-residence with various orchestras and music festivals,
including the Staatskapelle Dresden (Germany), São Paulo Symphony (Brazil), Orchestra
Ensemble Kanazawa (Japan), Concerto Budapest Symphony Orchestra (Hungary), New
Century Chamber Orchestra (USA), Verbier Festival (Switzerland), Trondheim Festival
(Norway), Marlboro Festival (USA), Musikfest Bremen (Germany), Lockenhaus Festival
(Austria) and Pacific Music Festival (Japan). In 2015, Auerbach is composer-in-residence
at the Trans-Siberian Art Festival and the Rheingau Musik Festival in Germany.
CD and DVD releases of Auerbach's works are available on the Deutsche Grammophon,
ECM, ARTE, PBS, BIS, Capriccio and Cedille labels.
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Auerbach is equally prolific in literature and has published three books of poetry in Rus-
sian. Gérard Depardieu, Sergei Yursky and Evgeny Kissin have been reciting her poems in
performances; Sergei Yursky also recorded a poetry CD from her book, Stairs to Eternity,
and has written the foreword for her Hanover Notebooks. Auerbach’s poetry and prose is
included in various anthologies, as well as in the textbook of required reading for Russi-
an high school literature classes. In 1996, the International Pushkin Society in New York
named her Poet of the Year. In 1997, Doctor of philological sciences Vyacheslav Okeansky
published a treatise on her poetry: ‘Concealment as the essence of the poetic word (Lunar
Mysteria in the Poetry of Lera Auerbach)’. She is the author of several librettos and is a
regular contributor to the Best American Poetry blog. In her first English-language book,
Excess of Being, published by Arch Street Press in 2015, she revitalizes the form of aphoris-
ms. Her writing is provocative, dark, ironic and humorous, perceptively dealing with life’s
kaleidoscopic questions.
Auerbach often gives poetry readings (in Russian and English), presentations and talks, as
well as master classes in various venues, including Harvard University, University of Mi-
chigan, Cleveland Institute, Open Society Institute in New York, Tokyo University, World
Economic Forum in Davos, Switzerland, Music Center of Budapest, Hungary and the poe-
try festival of West Cork, Ireland, as well as festivals in Verbier, Aspen, Marlboro, Sapporo
and others.
Auerbach has been drawing and sketching all her life as part of her creative process. In
2009, after a devastating fire destroyed her studio in New York, she started prolifically pain-
ting and sculpting. Her art has been included in several exhibitions and, in 2013, she had
her first solo exhibition in Norway. Her paintings are included in private collections, sold
in auctions, reproduced in magazines, and used on the covers of CDs and books.
Auerbach’s opera, G o g o l , for which she wrote both the libretto and music, received its
highly acclaimed world premiere in Vienna in 2011. Two of her oil paintings, related to this
opera, were sold in the Gogol exhibition held in Moscow that year. Her groundbreaking
a cappella opera, The Blind, has received productions in Germany, Norway, Russia, the
United States and Austria.
Auerbach has received numerous awards, including the prestigious Hindemith Prize, the
Paul and Daisy Soros Fellowship, the Deutschlandfunk Young Artists Prize and the ECHO
Klassik award, among others. The World Economic Forum selected Auerbach in 2007 as
a Young Global Leader and in 2014 as a Cultural Leader, inviting her to give presentations
and discussions on the fascinating topic of borderless creativity.
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l era aue rba c h
Ihre Kompositionen werden weltweit von führenden Musikern aufgeführt, u.a. von den
Geigern Gidon Kremer, Leonidas Kavakos, Vadim Gluzman, Philippe Quint, Hilary Hahn,
Vadim Repin, Daniel Hope, Julian Rachlin, Nadja Salerno-Sonnenberg und Dmitri Sit-
kovetsky, den Bratschisten Kim Kashkashian und David Aaron Carpenter, den Cellisten
Alisa Weilerstein, Gautier Capuçon und David Geringas, den Sängern Zoryana Kushpler,
Natalia Ushakova, Martin Winkler, Nikita Storojev und Stella Grigorian und von vielen
anderen. Auerbach hat acht Streichquartette geschrieben, die von den Tokyo, Borromeo,
Parker, Jasper und Ying Quartets, den Petersen-, Artemis- und Granados-Quartetten so-
wie dem RTE Vanbrugh String Quartet präsentiert wurden.
Choreographen und Regisseure wie John Neumeier, Aszure Barton, Goyo Montero,
Terence Kohler, Sol León, Paul Lightfoot, Medhi Walerski, Reginaldo Oliveira, Christi-
ne Mielitz und John La Bouchardière haben Auerbach-Ballette und -Opern inszeniert,
die an bedeutenden Häusern auf allen Kontinenten produziert wurden, u.a. an der Ham-
burgischen Staatsoper, am Theater an der Wien, Lincoln Center New York, Kanadischen
Nationalballett, Königlichen Dänischen Theater, Nürnberger Staatstheater, Finnischen Na-
tionaltheater, Stanislawski-Theater Moskau, Niederländischen Tanztheater, San Francisco
Ballet und an vielen anderen Häusern.
Auerbach ist in gleicher Weise auch literarisch produktiv. So hat sie drei Lyrikbände in rus-
sischer Sprache veröffentlicht. Gérard Depardieu, Sergej Jurski und Jewgeni Kissin haben
ihre Gedichte in Aufführungen rezitiert, und Sergej Jurski hat Gedichte aus ihrem Buch
,Stufen zur Ewigkeit‘ für eine CD aufgenommen und das Vorwort zu ihren ,Hannover-
Heften‘ geschrieben. Auerbachs Poesie und Prosa sind in verschiedenen Sammlungen
enthalten und zählen zur Pflichtlektüre für Literaturkurse an russischen Oberschulen.
1996 ernannte sie die Internationale Puschkin-Gesellschaft in New York zur Dichterin des
Jahres. Im Jahre 1997 schrieb Vyacheslav Okeansky, Doktor der Philologie, eine Abhand-
lung über ihre Lyrik: ,Das Geheimnisvolle als Essenz des poetischen Wortes (Die lunaren
Mysterien in der Lyrik von Lera Auerbach)‘. Sie hat mehrere Libretti verfasst und liefert
regelmäßig Beiträge zum Blog ,Best American Poetry‘. In ihrem ersten englischsprachigen
Buch mit dem Titel ,Excess of Being‘, erschienen 2015 bei Arch Street Press, wiederbelebt
sie die Form des Aphorismus. Ihr Stil ist provokativ, düster, ironisch und humorvoll und
behandelt scharfsinnig die vielfältigen Fragen des Lebens.
Auerbach gibt oft Dichterlesungen (in russischer und englischer Sprache), führt Präsen-
tationen durch und hält Vorträge sowie Meisterkurse an verschiedenen Orten wie z.B.
Harvard University, University of Michigan, Cleveland Institute, Open Society Institute
in New York, Universität Tokio, beim Weltwirtschaftsforum in Davos, im Musikzentrum
Budapest, beim Poesiefestival im irischen West Cork sowie auf den Festivals von Verbier,
Aspen, Marlboro, Sapporo u.a.
Ein Bestandteil von Auerbachs kreativem Prozess ist in ihrem Leben stets das Zeichnen
und das Skizzieren gewesen. Nachdem ein verheerender Brand im Jahre 2009 ihr New Yor-
ker Arbeitszimmer vernichtet hatte, begann sie verstärkt mit Malerei und Bildhauerei. Ihre
Kunst ist Teil mehrerer Ausstellungen gewesen, und 2013 hatte sie schließlich ihre erste
eigene Ausstellung in Norwegen. Ihre Bilder finden sich in Privatsammlungen, werden auf
Auktionen verkauft, in Zeitschriften abgedruckt und auf CD-Covern und Buchumschlägen
verwendet.
Auerbachs Oper G o g o l , für die sie sowohl das Libretto als auch die Musik schrieb,
erlebte ihre viel umjubelte Uraufführung 2011 in Wien. Zwei ihrer Ölgemälde, die sich
auf die Oper beziehen, wurden in der Gogol-Ausstellung verkauft, die in jenem Jahr in
Moskau stattfand. Ihre originelle A-cappella-Oper T h e B l i n d wurde in Deutschland,
Norwegen, Russland, den Vereinigten Staaten und in Österreich inszeniert.
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Auerbachs Ballett D i e k l e i n e M e e r j u n g f r a u gewann 2012 einen ECHO Klassik
als beste Musik-DVD. Es wurde auch mit zwei ,Goldenen Masken‘ ausgezeichnet und
weltweit bisher über 250 Mal aufgeführt. Auerbachs erste Zusammenarbeit mit dem Cho-
reographen John Neumeier, das Ballett P r é l u d e s CV, wurde kürzlich anlässlich des
40jährigen Bestehens des Hamburg Balletts wiederaufgenommen. Im Jahre 2014 kompo-
nierte Auerbach im Auftrag der Hamburgischen Staatsoper und des Moskauer Stanislaw-
ski-Theaters das zweiaktige Ballett T a t j a n a nach Puschkins ,Eugen Onegin‘.
Auerbach hat auch mit dem Niederländischen Tanztheater und dessen Choreographen
Sol León und Paul Lightfoot bei der Produktion S h i n e a L i g h t zusammengearbeitet,
ferner mit Goyo Montero bei D o n J u a n und F a u s t am Staatstheater Nürnberg, mit
Aszure Barton bei W a t c h H e r für das Kanadische Nationalballett, mit Tim Plegge bei
M o m o und mit Reginaldo Oliveira bei M y t h o s für das Badische Staatstheater Karlsru-
he. Ferner mit Terence Kohler bei vier Balletten: H e r o e s für das Münchner Staatsballett,
T a k e Y o u r T i m e für das Chinesische Nationalballett, 1 1 : 1 1 für das Flämische Na-
tionalballett und bei C i n d e r e l l a für das Finnische Nationalballett.
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s ta g e w o rk s
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tatia n a 2013/2014
Ballet in 2 acts. Idea and libretto by John Neumeier after ‘Eugene Onegin’ by Ale-
xander Pushkin
Co-commissioned by The Hamburg Ballet, The Hamburg State Opera and The Moscow State
Stanislavsky and Nemirovich-Danchenko Music Theatre
d r a m at i s p e r s o n a e : Tatiana – Eugene Onegin – Olga Larina – Vladimir
Lensky – Prince N.
3(picc, alto flute).2(cor anglais).2(bass clar).2(db bn) – 2.1.2(bass trbn).1 –
timp. 4 perc (tgl, flex, temple bl, side dr, bass dr, tam-t, glsp, tubular bells,
marimba, musical saw). harp. piano. cel. strings
Duration: full eve
Première: 29 June 2014, Hamburg
A co-production between The Hamburg State Opera and The Moscow State Sta-
nislavsky and Nemirovich-Danchenko Music Theatre
Hélène Bouchet (Tatiana) – Edvin Revazov (Eugene Onegin) – Leslie Heylmann
(Olga Larina) – Alexander Trusch (Vladimir Lensky) – Carsten Jung (Prince N.) –
Hamburg Ballet – John Neumeier (choreography, stage, ser and costumes) – Ham-
burg Philharmoniker – Simon Hewett (conductor)
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o r c h e s tral work s
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ic arus (based on the last two movements of Symphony No. 1 ’Chimera’) 2006/2011
Commissioned by the Düsseldorf Symphony Orchestra
Duration: 12’
3(picc, alto fl).3(cor anglais).3(bass clar).3(db bn) – 4.3.3(bass trbn).1 –
timp. 5 perc (bass dr, cym, tam-t, bells, crystal glasses [amplified], glsp,
vibr). termen vox (ad lib.). 2 harps. cel. piano. strings
First performance: 18 July 2011, Verbier
Verbier Festival Orchestra – Charles Dutoit (conductor)
score: sik 8703
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d e profund is 2013
C o ncerto for violin and orchestra no . 3
Commissioned by Vadim Repin
1. Andante sognando
2. Allegro marcato
3. Adagio pesante
Duration: 36’
2(picc).2(cor anglais).2(bass clar).2(db bn) – 2.1.bass trbn.1 – timp. 2 perc
(temple bl, tubular bells, glsp, vibr, marimba). harp. cel. piano. strings
First performance: 27 March 2015, Novosibirsk
Vadim Repin (violin) – Novosibirsk Philharmonic Orchestra – Dmitri Jurovsky
(conductor)
D e p r o f u n d i s is based on Lera Auerbach’s S o n a t a f o r V i o l i n a n d
P i a n o N o . 3.
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ar cti c a [c o n t i n u e d]
12. Angakok’s Sixth Flight: The World of the Dead Tragico, recitativo libero
(q = 50) · (q = 56) · Agitato (q = 72) · Più agitato (q = 80) · Pesante, recitativo
(q = 60-66)
13. VII. Magic Incantation: The Great Sedna (The Spirit of the Sea) Poco più
mosso ed accelerando · Agitato (q = 140) · Misterioso (q = 88) · Più agitato
(q = 100) · Più stretto · Andante pesante (q = 58)
14. VIII. Arctica – The Crystal Mirror (q = 58) · Poco meno mosso (q = 50) ·
Poco stretto (q = 60) · Adagio (q = 50) · Sognando, libero · (q = 58)
Duration: 44’
3(picc, alto flute).3(cor anglais).3(bass clar).3(db bn) – 4.2.3.1 – timp, 6
perc (crot, flex, whistle, temple bl, side dr, bass dr, tam-t, tubular bells,
glsp, vibr, marimba, theremin, water-drops, ice-drums, waterphone, water-
gong, chrystal glasses). 2 harps. cel. piano strings
First performance: 30 March 2019, Washington, Kennedy Center
Lera Auerbach (piano) – The Washington Chorus – National Symphony Orchestra
of Washington – Teddy Abrams (conductor)
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tw ent y- four PRE LUDES for v iolin and pian o Op. 46 1999
Dedicated to Vadim Gluzman and Angela Yoffe
Commissioned by Herbert and Beverly Gelfand
1. C major Adagio mortale
2. A minor Andante (Tempo di valse)
3. G major Andantino misterioso
4. E minor Allegro
5. D major Allegro moderato
6. B minor Allegro marcato
7. A major Allegro moderato
8. F sharp minor Andante
9. E major Allegro
10. C sharp minor Allegro
11. B major Allegretto
12. G sharp minor Adagio
13. F sharp major Allegro moderato
14. E flat minor Presto
15. C sharp major Adagio sognando
16. B flat minor Misterioso
17. A flat major Vivo
18. F minor Agitato
19. E flat major Moderato
20. C minor Tragico
21. B flat major Andante
22. G minor Moderato serioso
23. F major Andante
24. D minor Presto
Duration: 52’
First performance (Concert version): 18 March 2004, San Francisco
Vadim Gluzman (violin) – Lera Auerbach (piano)
First performance (Ballet version · Preludes C & V): 22 June 2003, Hamburg
Vadim Gluzman (violoncello) – Angela Yoffe (piano)
score: s i k 8507
cd: bis cd 1242 · Vadim Gluzman (violin) – Angela Yoffe (piano)
► see: STAGE WORKS P r e l u d e s C & V
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c hamb er musi c
t w ent y- fo ur PR E LUDES
f o r v i olonce ll o a nd piano Op. 47 1999
Dedicated to John Neumeier
Co-commissioned by Tom and Vivian Waldeck and The Caramoor International Music Festival
1. C major Andante
2. A minor Allegro
3. G major Andante misterioso
4. E minor Allegro obsessivo
5. D major Moderato
6. B minor Tragico
7. A major Vivo ma non troppo
8. F sharp minor Grave
9. E major Vivace
10. C sharp minor Adagio sognando
11. B major Allegro
12. G sharp minor Adagio
13. G flat major Moderato
14. E flat minor Scherzando
15. D flat major Allegro con brio
16. B flat minor Tempo di valse
17. A flat major Allegro ritmico
18. F minor Andantino
19. E flat major Allegro appassionato
20. C minor Giocoso
21. B flat major Dialogo
22. G minor Andante nostalgico
23. F major Adagio sognando
24. D minor Vivo
Duration: 46’
First performance (Concert version): 11 July 2008, Caramoor
Alisa Weilerstein (violoncello) – Lera Auerbach (piano)
First performance (Ballet version · Preludes C & V): 22 June 2003, Hamburg
Ani Aznavoorian (violoncello) – Lera Auerbach (piano)
score: sik 8508
► see: S TAGE W ORKS P r e l u d e s C & V
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plete cycle) for violoncello and piano (2008) and for viola and piano (2010).
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e pilogue 2005
for string quartet
Hommage à Edith Wharton
Commissioned by Close Encounters with Music
one movement
Duration: 16’
First performance: 28 May 2005, Tanglewood, Ozawa Hall
Yehonatan Berick, Cornelius Dufallo (violins) – Toby Appel (viola) – Yehuda Ha-
nani (violoncello)
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POSTLU DE 2006
for violoncello and piano. Arrangement of No. 12 (G sharp minor, Adagio) from
Tw e n t y - f o u r P r e l u d e s f o r V i o l o n c e l l o a n d P i a n o, Op. 47
(1999)
Duration: 2’30”
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piano (complete cycle, 2010) and for violin and piano (Nos. 4, 7, 14, 23, 9 – 2000)
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s p e ak , m emory 2010
for violin and piano
Commissioned by and dedicated to Hilary Hahn
Duration: 3’
S p e a k , M e m o r y is also available in a version for violin solo.
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cello and piano (complete cycle, 2008) and for violin and piano (Nos. 4, 7, 14, 23,
9 – 2000)
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(2015).
Festival 2015.
r o ots 2016
for violin and bayan
Commissioned by Akkordeonfest Hannover
Andante nostalgico (q = 60) · Meno mosso e ritenuto · Tempo I, libero mol-
to · Allegro ossessivo, aggressiv · Meno mosso · Allegro ossessivo · Ada-
gio mistrioso · Più adagio · Tragico (q = 69) · Più agitato, libero · recitativo
libero · Nostalgico · Adagio lamentoso (q = 58) · Più mosso, pesante can-
tabile (q = 76) · Poco più agitato (q = 84) · Adagio nostalgico (q = 60) · Poco
meno mosso · più mosso ed accelarando · Adagio subito · Agitato (q = 112)
· Ossessisvo · Andante (q = 66) · Poco meno mosso, misterioso (q = 56) · A
tempo (q = 60)
Duration: 16’
First performance: 24 November 2016, Hannover
Katrin Rabus (violin) – Elsbeth Moser (bayan)
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Tw e n t y - F o u r P r e l u d e s f o r V i o l i n a n d P i a n o (1999) and Tw e n -
t y - F o u r P r e l u d e s f o r V i o l o n c e l l o a n d P i a n o (1999). The official
première was preceded by a performance of Nos. 1, 5, 6, 9 and 10 with Carolina
Eyck (theremin) and Leonardo Hell (piano) which took place on 17 October 2017
in the Havanna Museum of Fine Arts.
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s ol o w orks
fa n ta s ia 1986
for piano
Duration: 6’
cd: pH 07064 · Ksenia Nosikova
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s o lo w orks
P R AYE R
Duration: 7’
· original version for english horn solo, Op. 33a 1996
Commissioned by Candis Threlkeld
First performance: 1997, Aspen
Candis Threlkeld
· version for bass clarinet or clarinet 2008
· version for alto saxophone 2009
First performance: 9 July 2009, Bangkok
Carrie Hoffman
· version for soprano saxophone 2020
· version for tenor saxophone 2020
· version for baritone saxophone 2020
score: sik 8872 (version for bass clarinet or clarinet)
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c a denz a s 2006
to W. A. Mozart’s Piano Concerto in D minor, K. 466 (first and third movement)
Duration: 6’
1. Allegro
2. Agitato – Adagio misterioso, tragico
First performance: 26 July 2006, Kiel
Gerhard Oppitz
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p a r.ti.ta 2007
for violin
Commissioned by Bachwoche Ansbach 2007
1. Adagio libero (Preludio)
2. Moderato
3. Andantino scherzando
4. Serioso
5. Andante libero
6. Vivo scuro
7. Adagio tragico
8. Grave
9. Allegro ossessivo
10. Adagio (Postludio)
Duration: 25’
First performance: 29 July 2007, Ansbach
Vadim Gluzman
score: sik 8860
c a denz a s 2014
to W. A. Mozart’s Flute Concerto in D major, K. 314
Commissioned by the National Symphony Orchestra of Washington for Aaron Goldman
1. Allegro aperto
2. Andante ma non troppo
3. Allegro [Cadenza and intrata]
Duration: 5’
First performance: 13 November 2014, Washington
Aaron Goldman (flute) – National Symphony Orchstra of Washington – Christoph
Eschenbach (conductor)
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labyrint h 2018
for piano
Inspired by The Book of Imaginary Beings and other writings by Jorge Luis Borges
Commissioned by San Francisco Performances
1. A Bao a Qu (the Tower of Chitor) Adagio, sognando libero · q = 60 · Poco
meno mosso (q = 52) · Stretto e più agitato · (Poco meno mosso)
Traumwanderer: First Passage L’istesso tempo, libero (q = 60) · Agitato,
poco più mosso (q = 69) · Stretto lametoso (q = 80) · Tempo I (q = 60) attacca
2. Simurgh (The Bird Parliament) Con brio (q = 76) · Allegretto sognando,
libero molto (q = 100) · Poco meno mosso · Tempo I · Poco più mosso,
agitato molto · Poco meno mosso, misteriosoo (q = 80)
Traumwanderer: Second Passage q = 72 · q = 96
3. The Norns Misterioso (q = 72) · Adagio I (q = 48) · Più agitato (q = 56) · (poco
meon mosso, ad lib.)
Tramuwanderer: Third Passage q = 60
4. The Chord of Fenrir Misterioso libero · Allegro moderato, marcato (q = 92) ·
Meno mosso, libero · Furioso (q = 112) · poco meno mosso, pesante · Mi-
sterioso libero · Allegro subito, pesante attacca
Traumwanderer: Fourth Passage Allegro ossessivo · (più agitato) · (Meno mosso)
mosso)
5. Swedenborg’s Angels Con moto, libero (q = 84) · Meno mosso, sognando ·
(Tempo I)
Traumwanderer: Fifth Passage (Swedenborg’s Demons) q = 60 · q = 72 · più
mosso (q = 84) · più mosso (q = 100) · q = 60 (poco a poco più stretto) · La-
mentoso I (q = 84) · Stretto agitato (q = 96)
6. The Kilkenny Cats Furioso scherzando (q = 96) · Poco meno mosso, libero ·
Tempo I, furioso · più agitato · Vivo furioso · Più stretto
Traumwanderer: Sixth Passage (The Squonk Mourns the Kilkenny Cats)
q = 90 · q = 116 · Libero
7. Haniel, Kafziel, Azriel and Aniel Allegro moderato, con brio (q = 132) ·
Moderato (q = 80) · Con brio (q = 132) · Pesante (h = q) · Sognando (q = 56) ·
Poco più agitato (q = 63) · Misterioso · Tempo I, con brio (q = 132)
Traumwanderer: Seventh Passage q = 66 · meno mosso (q = 86) · Tempo di
valse (q = 100)
8. An Afternoon of a Minotaur Umoristico (q = 168)
Traumwanderer: Eighth Passage Grave funebre (q = 54) · Meno mosso (q = 42)
9. La liebre lunar L’istesso tempo, libero molto · (Poco più mosso) (q = 56) ·
q = 60 · (Tempo I) · (q = 50) · (Poco agitato) (q = 60) · Meno mosso
10. El aplanador Largo pesante (q = 60)
Traumwanderer: Ninth Passage (El golem) (q = 56) · (Poco agitato) (q = 69) ·
Tragico (q = 60) · (Tempo I)
11. Bahamut poco a poco accelerando · Agitato (q = 120) · (Poco meno mosso) ·
(q = 100) · Andante
59
s ol o w orks
labyrint h [c o n t i n u e d]
12. The Library of Babel (q = 63) · Poco meno mosso (q = 52) · (più stretto) ·
Adagio libero · (q = 58)
Duration: 50’
First performance: 27 March 2018, San Francisco
Lera Auerbach
60
c h oral wo rk s
L U LLABY Op. 66 2002
for mixed choir
text: William Blake’s ‘Cradle song’ (in English)
Duration: 3’
First performance: 21 November 2004, Vienna
Chamber choir ‘Vox humana’, Gumpoldskirchen
61
c h oral work s
62
c h oral wo rk s
63
c h oral work s
7 2 ANGELS [ c o n t i n u e d ]
37. Aniel Con moto, libero (q = 66)
38. Haamiyah L’istesso tempo (q = 66)
39. Rehael Agitato (q = 96)
40. Yeyazel L’istesso tempo (q = 96)
41. Hahael Recitativo libero (q = 80)
42. Mikael q = 88
43. Vevaliyah q = 90
44. Yelahiyah q = 120
45. Sealiyah Recitativo (q = 60) · Poco meno mosso
46. Ariel q = 60
47. Asaliyah Con brio (q = 88) · meno mosso
48. Mihael
49. Vehevel Andante (q = 76)
50. Daniel Allegro marcato (h = 84)
51. Hahashiyah L’istesso tempo (q = 168)
52. Imamiyah L’istesso tempo
53. Nanael q = 144 · Poco meno mosso, recitativo libero
54. Nitael Recitativo libero (q = 80) · Sognando, nostalgico (q = 72)
55. Mebahiyah Lento (q = 58) · Poco più mosso (q = 63)
56. Poiel q = 88
57. Nemamiyah L’istesso tempo
58. Yeyelel Andante recitativo (q = 72) · Recitativo nostalgico
24. Harael Recitativo libero (q = 84) · Poco meno mosso, sognando (q = 76)
59. Mizrael Con spirito, marcato (q = 96)
60. Vamabel Allegro marcato (q = 144) · Meno mosso, ma agitato (q = 96) ·
a tempo (q = 144) · Lamentoso, agitato · Poco meno mosso
61. Yehael Libero (q = 72)
62. Anayuel Energico (q = 88)
63. Mehiel Pesante (q = 72) · Agitato poco (q = 80) · poco meno mosso (q = 72)
64. Damebiyah Recitativo libero (q = 60)
65. Manakel Animato (q = 120) · Poco meno mosso
66. Eyael Adagio magico (q = 46)
67. Habahiyah Energico (q = 84)
68. Rehel Allegro (q = 132) · Marcato
69. Yabamiyah Moderato energico (q = 108)
70. Hayael Semplice (q = 108)
71. Mevamiyah Andante ad libitum (œ = 168) · poco stretto · meno mosso ·
Adagio · Adagio molto (œ = 60)
72. Epilogo: Amen q = 60
Duration: 89’
First performance: 3 November 2016, Amsterdam, Muziekgebouw aan’t IJ
Nederlands Kamerkoor – Raschèr Saxophone Quartet – Peter Dijkstra (conductor)
64
c h oral wo rk s
GOET IA [ c o n t i n u e d ]
39. Malphas
40. Raum
41. Focalor
42. Vepar
43. Sabnock
44. Shax
45. Vine
46. Bifrons
47. Uvall
48. Haagenti
Psalm 90 (91):5-11/13
49. Crokel
50. Furcas
51. Balaam
52. Allocas
53. Caim
54. Murmur
55. Orobas
56. Gremori
27. Ose
58. Amy
59. Orias
60. Vapula
61. Zagan
62. Valax
63. Andras
64. Haures
65. Andrealphus
66. Kimaris
67. Amdusias
68. Belial
69. Abraxas
70. Seere
71. Dantalion
72. Andromalius
Duration: 90’
First performance: 24 May 2019, Berlin, Pierre Boulez Saal
RIAS Kammerchor – Michelangelo Quartet – Kaspars Putnins (conductor)
66
songs
67
songs
SONGS O F RE BIRT H
Dedicated to Sonia Simmenauer
P OETRY Op. 36 1997
for soprano and piano
Text: Hilan Dov Warshaw (in English)
Duration: 5’
First performance: 1997, New York
Lina Tetruashvili (soprano) – Lera Auerbach (piano)
PRAY E R Op. 37 1997
for soprano and piano
Text: Hilan Dov Warshaw (in English)
Commissioned by the Aspen Jewish Congregation
Duration: 3’
First performance: 7 October 1997, Aspen
Lisa Layman (soprano) – Lera Auerbach (piano)
TO T HE WORL D Op. 71 2003
for soprano and piano
Text: Hilan Dov Warshaw (in English)
Duration: 4’
First performance: 18 March 2003, Chicago
Julia Bentley (mezzo-soprano) – Andrea Swan (piano)
68
songs
TW O SONGS
DA NCE OF DAV ID Op. 50 2000
for boy soprano or soprano and piano
Text: Arseny Tarkovsky (in Russian)
Duration: 2’
First performance: 14 July 2001, Lockenhaus
Yulia Korpacheva (soprano) – Lera Auerbach (piano)
P OOR FI SHERMA N Op. 51 2000
for boy-soprano or soprano and piano
Text: Arseny Tarkovsky (in Russian)
Duration: 2’
First performance: 14 July 2001, Lockenhaus
Yulia Korpacheva (soprano) – Lera Auerbach (piano)
69
songs
70
mu s i c f or the you ng
71
c hr o n o l o g ic al i ndex
o p u s
o p u s
73
c hr o n o l o g ic al i ndex
o p u s
74
c hr o n olo g ical i ndex
o p u s
75
c hr o n o l o g ic al i ndex
o p u s
– Arctica.
Sympohony No. 4 for Piano, C hoir and Orc h e s t r a ··········· 2019········ 28
– Diabellical Waltz ······································································· 2019········ 59
– Eve’s Lament · ·············································································· 2019········ 29
– Fractured Dreams.
S onata for Violin and Piano No. 4 ········································ 2019········ 48
– Trout N o More ············································································ 2019········ 60
76
alphab e t i c al index
E p i logue ···················································································································· 36
E t e rniday ( Hommage à W.A. Mozart ) ······························································ 21
E v e ’s Lament (O Flowers, That Never Will Grow) ··················································· 29
E v a s Klage ( O Blumen, die niemals blühen wer d e n ) ···································· 29
F a n tasia ····················································································································· 50
L a fenice (S onata for Piano No. 1) ································································· 55
F i n dings – S ixteen Inventions (S tring Quartet N o . 4) ······························ 38
F i v e Preludes [s h o s t a k o v i c h] ········································································· 34
F r a ctured Dreams (Sonate for Violin and Piano N o . 4 ) ······························ 48
77
alphabe t i cal index
J o b ’s Lament ············································································································ 40
L a b yrinth ·················································································································· 58
L a s t Letter Op. 76 · ································································································ 69
Th e Little Mermaid Op. 80 ················································································· 12
L o b des Friedens (In Praise of Peace) ······························································· 24
L o n ely S uite (Ballet for a Lonely Violinist) Op. 70 · ··································· 54
L u d wigs Alptraum ·································································································· 56
L u l l aby Op. 66 ········································································································ 61
p a r.ti.ta ····················································································································· 57
P i a no Trio N o. 1 Op. 28 ······················································································ 30
P i a no Trio N o. 2 (Triptych – The Mirror with t h r e e F a c e s) ······················· 42
P i a no Trio N o. 3 ····································································································· 43
P i a no Trio N o. 4 ····································································································· 46
P o e try Op. 36 (part of Songs of Rebirth) ·························································· 68
P o or Fisherman Op. 51 (part of Two Songs) · ···················································· 69
P o s tlude for violin and piano Op. 47b ···································································· 33
P o s tlude for violoncello and piano ········································································· 37
P o s tscriptum for piano trio ···················································································· 39
P o s tscriptum for mezzo-soprano, violoncello and piano ······································· 40
P o s t silentium ········································································································· 23
P r a yer Op. 33a · ······································································································ 51
P r a yer Op. 37 (part of Songs of Rebirth) ··························································· 68
P r e lude, Toccata and Postlude Op. 65 ···························································· 54
P r e lude, Toccata and Postlude Op. 75 ···························································· 55
P r e ludes C & V · ······································································································ 12
P r i mera luz ( String Quartet No. 2) ··································································· 37
P r o phecy Op. 67 ···································································································· 69
P s a lm 23 Op. 42 ····································································································· 61
P s a lm 100 Op. 43 ·································································································· 61
P s a lm 130 Op. 44 ·································································································· 61
Ta t i ana · ····················································································································· 14
Te n Dreams Op. 45 · ······························································································ 53
Te n Preludes for Theremin and Piano · ···························································· 46
T’ f i l ah Op. 33 ········································································································· 51
Th r ee D ances in the Old Style Op. 54 ···························································· 33
To t he World Op. 71 (part of Songs of Rebirth) ··············································· 68
Tr i o for Violin, Horn and Piano ········································································ 45
Tr i o for Violin, Violoncello and Piano [p r o k o f i e v] ··································· 45
Tr i p tych – T he Mirror with three Faces (Piano Tr i o N o . 2) ······················· 42
Tr o ut No More ········································································································ 60
Tw e nty-Four Prelu des for Piano Op. 41 ························································· 52
Tw e nty-Four Prelu des for Viola and Piano · ··················································· 47
Tw e nty-Four Prelu des for Viola and Piano [s h o s t a k o v i c h] ····················· 41
Tw e nty-Four Prelu des for Violin and Piano Op. 46 ···································· 31
Tw e nty-Four Prelu des for Violoncello and Piano Op. 47 ·························· 32
Tw e nty-Four Prelu des for Violoncello and Piano [s h o s t a k o v i c h] ······· 39
Tw o S ongs · ··············································································································· 69
Tw o S ongs Op. 10 ·································································································· 67
80
alphab e t i c al index
81
d is c o g raphy
P i a no Trio No. 1
■ Lincoln Trio.. . . . . . . . . . . . . . . . . . . . . . . . . . . . cdr 900000-126
82
d i s c o graphy
S o g no di stabat mater for violin and viola, vibraphone and string orchestra
■ Kremer, Ulijona · Kremerata Baltica. . . . . . . . . . . . . . . nonesuch 287228-2
83
d is c o g raphy
84