Podcast appearances and mentions of lera auerbach

Lera Auerbach ist eine preisgekrönte russisch-österreichische Komponistin, Pianistin und Autorin. Im Interview mit Johannes Hartl spricht sie über die emotionale und gesellschaftliche Bedeutung von Musik und Kunst. Sie hebt hervor, wie Kunst tiefgehende Verbindungen schafft und positive Veränderungen bewirken kann.

In deze aflevering van Kalm met Klassiek hoor je een eigentijds voorbeeld van een prelude. Preludes zijn meestal het voorspel van een groter werk, en in het geval van vandaag vormt deze prelude een opmaat naar een fuga die erop volgt. Maar, ook op zichzelf is het krachtige muziek. Luister naar 'Prelude nr. 8' van componiste Lera Auerbach, voor piano en viool. Wil je meer Kalm met Klassiek? Ga naar npoklassiek.nl/kalmmetklassiek (https://www.npoklassiek.nl/kalmmetklassiek). Alle muziek uit de podcast vind je terug in de bijbehorende speellijst (https://open.spotify.com/playlist/6YgSfm1Sux7CroiJvzeUdx?si=f0f254ee8f4048e7).

durée : 00:59:28 - En pistes, contemporains ! du dimanche 26 novembre 2023 - par : Emilie Munera - Cette semaine, découvrez la musique de chambre de la compositrice Lera Auerbach, un univers musical sombre et radical défendu par le Delta Piano Trio. Musique chorale également avec The Marian Consort qui quitte les terres de la musique ancienne pour enregistrer les pièces de jeunes compositeurs. - réalisé par : Céline Parfenoff

durée : 00:09:59 - "Milking Darkness" du Delta Piano Trio - Le disque contemporain de la semaine est celui du Delta Piano Trio paru le 29 septembre dernier chez Challenge Classics. Au programme, les oeuvres de Lera Auerbach.

Lera Auerbach ist eine erfolgreiche Komponistin. Die in Russland geborene und in den USA lebende Künstlerin arbeitet ebenso als Pianistin, Dirigentin, Lyrikerin, Malerin. Sie war im MDR Klassik-Gespräch bei Grit Schulze.

Een fijn gesprek met componist Simon Burgers over het harp-solo-stuk dat van hem gaat - in twee gedaanten - tijdens November Music, vanaf 1 november in Den Bosch. En trouwens ook nog even over het dan hernomen 'Morfine' met Adriaan van Dis. Oh, en er is ook een pracht van een CD uit Estland die je moet horen. En natuurlijk Lera Auerbach door het Delta Piano Trio, de Hollandse Nieuwe van deze week én ook nog 's de Doorgeef-CD van heden. En om het af te toppen een fijne tip voor het Rembrandt Frerichs Trio met Mohammad Motamedi. 23.04 CD Milking Darkness (Challenge Classics CC72963) Lera Auerbach: Three dances in the old style Delta Piano Trio  5'21”  23.11 CD O vis aeternitatis (eigen uitgave z.nr.) trad.: Kyrie Duo Obsolute 2'29”  CD O vis aeternitatis (eigen uitgave z.nr.) Orlando di Lasso: Beatus vir Duo Obsolute 2'48”  CD O vis aeternitatis (eigen uitgave z.nr.) Riho Esko Maimets: Mu süda, ärka üles Duo Obsolute 4'23”  23.20 eigen opname Simon Burgers: Ten, voor harp 0:00 Part One: Red Herring 2:55 Part Two: L'istesso tempo 6:00 Part Three: Recitativo 8:19 Part Four: Whirlwind 2.0 Anneleen Schuitemaker [harp] 11'02”  eigen opname Simon Burgers; Adriaan van Dis: Morfine Simon Burgers, Adriaan van Dis 4'00”  CD Living Concert Series: Jolivet, Ravel & Debussy (Acousense Classics André Jolivet: Concerto pour piano et orchestre - I Allegro deciso Pascal Gallet [piano]; Duisburger Philharmoniker olv Jonathan Darlington 7'37”  23.53 CD Intizar - Songs of longing (Just Listen Records JL031) Darvish Khan, arr. Tony Overwater, tekst Mohamad Taqi Bahar: Intizar Rembrandt Frerichs Trio; Mohammad Motamedi; Myrthe Helder [viool]; Maya Fridman [cello]; Maarten Ornstein [klarinet] 5'45” 

Nachhilfe in Sachen Komponistinnen gefällig? Die Cellistin Raphaela Gromes hat Werke von 23 Frauen quer durch die Musikgeschichte eingespielt: von Hildegard von Bingen bis Lera Auerbach.

Narrator Brian Nishii joins AudioFile's Robin Whitten to discuss Genzaburo Yoshino's HOW DO YOU LIVE?, a Japanese classic from 1937 with a new translation by Bruno Navasky. Named one of AudioFile's Best Children & Family Listening audiobooks, HOW DO YOU LIVE? remains surprisingly relevant today, intertwining the adventures of a young teenager with philosophical conversations with his beloved uncle. Nishii tells listeners about the challenges of bringing this title to a contemporary audience, his approach to narrating audiobooks for younger listeners, and more. Read AudioFile's review of the audiobook at audiofilemagazine.com. Published by Recorded Books. AudioFile's 2022 Best Children' & Family Listening: A IS FOR OBOE: THE ORCHESTRA'S ALPHABET by Lera Auerbach, Marilyn Nelson, read by Thomas Quasthoff A DIFFERENT POND by Bao Phi, read by Bao Phi EYES THAT SPEAK TO THE STARS by Joanna Ho, read by Justin Chien HOW DO YOU LIVE? by Genzaburo Yoshino, Bruno Navasky [Trans.], Neil Gaiman [Fore.], read by Brian Nishii THE LAST MAPMAKER by Christina Soontornvat, read by Sura Siu WINNIE-THE-POOH by A.A. Milne, read by Barbara Rosenblat For the full list of 2022 Best Audiobooks, visit: audiofilemagazine.com Will Seeking Justice Lead to Her Own Demise? Today's episode of Behind the Mic is brought to you by Oasis Audio, publisher of BENEATH HIS SILENCE, a gothic-style regency romance from promising young author, Hannah Linder. Narrated by Anne Flosnik. Available everywhere. Learn more about your ad choices. Visit megaphone.fm/adchoices

A journey from brooding despair to rousing triumph, Shostakovich's Fifth Symphony rescued him from the grips of official Soviet disfavor. But to many listeners, it's a more subversive critique of life under Stalin. This program, led by Manfred Honeck, also showcases the U.S. premiere of Lera Auerbach's Diary of a Madman, composed for and performed by Gautier Capuçon. Ticket holders are invited to a free preconcert conversation featuring Laura Sauer-Shah in Orchestra Hall 75 minutes before the performance. The conversation will last approximately 30 minutes. No additional tickets required. Learn more: cso.org/performances/22-23/cso-classical/honeck-capucon-and-shostakovich-5

For violinist Hilary Hahn, finding success as an international soloist has never been about sticking to the same menu of concertos by Beethoven, Mendelssohn, and Sibelius. Now in the fourth decade of her storied career, the three-time Grammy Award winner has consistently worked to expand the scope of the violin canon — commissioning a slate of new works from composers like Edgar Meyer, Jennifer Higdon, and Lera Auerbach. But on Eclipse, her latest release on Deutsche Grammophon, the centerpiece of the album isn't a work written for her. In fact, it's not even by a living composer. It's the violin concerto of Alberto Ginastera — a work that's seldom performed, and one Hahn immediately fell in love with when she first heard it years ago. Ever since then, she knew she had to record it. "It felt like one of those pieces I needed to take on for my own reasons, but also that it wasn't played very much," Hahn says on the latest episode of the Classical Post podcast. "I was enamored with the work, felt like it was written for me, even though I never met the composer. It's exactly what I like to dive into emotionally in music, and it requires a very specific relationship to the instrument that I feel is a strength of mine." Part of the reason Hahn was eager to record the work was not only the chance to add to the concerto's story with her performance — but also to allow everyone who listens to contribute their personal perspective to the work. "Music is a way to connect you with your own experience. As a listener, you are part of the interpretation of that music's history. When you listen to a piece, you add to the diversity of stories that it tells, just by being present in its space." In this discussion, we talk more about Eclipse and why another work on the album, Dvořák's Violin Concerto, deserves much more time in the spotlight as well. Plus, she shares how her wellness routine is all about tuning into the daily ebb and flow of her body, and the facial massage stone that helps her undo the neck and jaw tension that comes with years of playing the violin. Listen to Eclipse on Spotify, Apple Music, or wherever you stream and download music. — Classical Post uncovers the creativity behind exceptional music. Dive into meaningful conversations with leading artists in the world today. Based in New York City, Classical Post is a touchpoint for tastemakers. Visit our website for exclusive editorial and subscribe to our monthly newsletter to be notified of new content. Follow us on Instagram and TikTok. Classical Post is an ambassador for NED, a wellness company. Get 15% off their products like CBD oil and many other health-based products by using our code CLASSICALPOST at checkout.

Integrale opname (in twee delen) van de voorstelling De Rechtvaardigen, gebaseerd op het boek van Jan Brokken, door Cappella Amsterdam olv Daniel Reuss, het Berlage Saxophone Quartet en Jan Brokken (voordracht). Muziek van Pēteris Vasks, Lera Auerbach, Dmitri Shostakovich en Peter Vigh. Zie de detail-informatie in > dit artikel op de Radio 4 website. 

Integrale opname (in twee delen) van de voorstelling De Rechtvaardigen, gebaseerd op het boek van Jan Brokken, door Cappella Amsterdam olv Daniel Reuss, het Berlage Saxophone Quartet en Jan Brokken (voordracht). Muziek van Pēteris Vasks, Lera Auerbach, Dmitri Shostakovich en Peter Vigh. Zie de detail-informatie in > dit artikel op de Radio 4 website.

University of Texas at Austin double bass professor Joel Braun just released a solo album.  Titled Unaccompanied, it contains his own transcription of the Bach Flute Partita, premiere recordings of works by Lera Auerbach, Caleb Burhans and Olga Magidenko, and his own composition "Awake,” which received an honorable mention from the ISB David Walter composition competition.    We talk about the story behind this album, performing works by women composers, life events since our last chat at ISB 2019, and much more.   Enjoy, and check out the following links to hear recital performances from Joel featuring women composers: Olga Magidenko *Sonata* Chen Yi *3 Bagatelles* Hadas Goldschmidt-Halfon *Bass Drums* Rain Worthington *Steps in the Night*   Subscribe to the podcast to get these interviews delivered to you automatically!   Check out our Online Sheet Music Store with 100+ wide-ranging titles for bassists.   Listen to Contrabass Conversations with our free app for iOS, Android, and Kindle. Check out my Beginner's Classical Bass course and Intermediate to Advanced Classical Bass course, available exclusively from Discover Double Bass.   Thank you to our sponsors!   Carnegie Mellon University Double Bass Studio - CMU is dedicated to helping each student achieve their goals as a musician. Every week each student receives private lessons and participates in a solo class with Micah Howard. Peter Guild, another member of the PSO, teaches Orchestral Literature and Repertoire weekly. They encourage students to reach out to the great bassists in their area for lessons and direction. Many of the bassists from all of the city's ensembles are more than willing to lend a hand. Every year members of the Symphony, the Opera and the Ballet give classes and offer our students individual attention. Click here to visit Micah's website and to sign up for a free online trial lesson.   Upton Bass String Instrument Company - Upton's Karr Model Upton Double Bass represents an evolution of our popular first Karr model, refined and enhanced with further input from Gary Karr. Since its introduction, the Karr Model with its combination of comfort and tone has gained a loyal following with jazz and roots players. The slim, long “Karr neck” has even become a favorite of crossover electric players.   Dorico - Unlock Dorico for iPad – For Life! Want to enjoy all of Dorico for iPad's subscription-only features – including support for unlimited players, freehand annotations in Read mode with Apple Pencil, support for third-party Audio Unit plug-ins, and much more – but don't want to pay a monthly or annual fee? Dorico for iPad now provides a lifetime unlock option, so you can access all current and future subscription-only features for a single, one-off in-app purchase. Visit the App Store today and unlock Dorico for iPad for life!   theme music by Eric Hochberg

There are many women composers these days, and this program introduces some of them: Caroline Shaw, Ellen Taaffe Zwilich, Anna Thorvaldsdottir, Lera Auerbach, Kaija Saariaho, Chen Yi, Jennifer Higdon, Libby Larsen, Missy Mazzoli, Gabriela Lena Frank, and Tania Leon.

Today on Introductions, a live recital from Katya Moeller, a fellow of the Music Institute of Chicago Academy and a student of Almita Vamos. With her mother Ksenia Noskiova at the piano, Katya performs music by Johann Sebastian Bach, Ludwig van Beethoven, Eugène Ysaÿe and George Gershwin; plus a set of Lera Auerbach preludes including two world premieres. Thanks to ... The post LIVE | Katya Moeller, 17, violin appeared first on WFMT.

Narrator Thomas Quastoff's voice has a musicality perfectly suited to this rich alphabet book with a symphonic score. Host Jo Reed and AudioFile's Emily Connelly discuss the joy of hearing the orchestra come alive through lyrical poems by Lera Auerbach and Marilyn Nelson, narrated beautifully by Quastoff. His German-accented baritone moves through alliterative phrases, describing singing piccolos, mournful English horns, and trilling woodwinds. The audiobook is educational but also delves into the emotions of hearing orchestral music—and listeners are treated to representative music for each letter. There's no better way to experience this book than to hear it. Read the full review of the audiobook on AudioFile's website. Published by Listening Library. Find more audiobook recommendations at audiofilemagazine.com Our Audiobook Break podcast just launched its 3rd season, and this time listeners are journeying to Pemberley with narrator Alison Larkin as our guide. Enjoy Jane Austen's PRIDE AND PREJUDICE with new chapters each week, free on the Audiobook Break podcast. Support for AudioFile's Behind the Mic comes from PENGUIN RANDOM HOUSE AUDIO, dedicated to producing top-quality fiction and nonfiction audiobooks written and read by the best in the business. Visit penguinrandomhouseaudio.com/audiofile now to start listening. Learn more about your ad choices. Visit megaphone.fm/adchoices

After leading orchestras in Bournemouth, Baltimore and São Paulo, Marin Alsop became Chief Conductor of the ORF Vienna Radio Symphony Orchestra in 2019. Her inaugural concert in Vienna's Konzerthaus featured music by Paul Hindemith, Christopher Rouse and Lera Auerbach, making a strong statement about where her musical sympathies lay. From that opening concert, recorded live, comes a new album from Naxos of Hindemith's Mathis der Maler Symphony and one-act opera Sancta Susanna, supplemented by a studio recording of three dances from another of the one-act operas, Nusch-Nuschi.  James Jolly caught up with the American conductor to talk Hindemith, her vision for her new tenure in Austria and how the pandemic has reset many perceptions about the 'core' repertoire and how things might change in the future.

Jess Gillam and the French cellist Bruno Philippe share some of their favourite music, including movements from Schubert's final string quartet and Beethoven's 'Pastoral' Sixth Symphony, tracks by Amy Winehouse and Alex Turner, and music by Lera Auerbach and John Ireland. Playlist: Puccini - Overture from Madame Butterfly [Orchestra Dell'Accademia Nazionale di Santa Cecilia, Alberto Erede] De Visee - Sarabande from Pieces for lute, Suite No.7 [Thomas Dunford, Jean Rondeau] Amy Winehouse - Back to Black Lera Auerbach - T'filah (Prayer) for solo violin [Vadim Glutzman] Schubert - String Quartet No.15 in G, 1st movement [Hagen Quartet] John Ireland - Fantasy Sonata [Michael Collins, Michael McHale] Alex Turner - Piledriver waltz Beethoven - Symphony No.6 in F major 'Pastoral', final movement [Philadelphia Orchestra, Riccardo Muti]

I have admired today's guest for a very long time! Kim Kashkashian is an internationally recognized and decorated violist who has worked tirelessly to broaden the range of technique, advocacy, and repertoire for the viola. Our conversation is absolutely filled with information and inspiration, including: Her musical journey and how her artistic path has unfolded, focusing heavily on conquering her fears and belief in chance (3:24) Why pursuing an objective view is essential to your growth (9:48) How Kim defines mindful practice... (11:26)  ...and how focusing on the entire production of your sound (including resonance, energy, and what you send out) maximizes your practice (12:51) Kim's suggestions to exercise expressive playing, including knowing exactly what a piece means to you by personifying the music (and letting how you transmit that message to an audience come second) (15:36) How the difference between intention and desire relates to the tension in performance (22:56) The distinction between being judgmental and making good differentiation, and the impact of each (29:55) Kim's advice to current music students on broadening your perspective, learning the language of music (separate from the craft of playing your instrument), and knowing the historical context of pieces (33:36) The doubt and resistance Kim has faced on her own journey (36:38) The importance of listening to yourself with love, knowing yourself and what you want to say, and knowing how to say it (37:50)   MORE ON KIM KASHKASHIAN: YouTube channel: https://www.youtube.com/results?search_query=kim+kashkashian+viola Facebook: https://www.facebook.com/profile.php?id=100063660876526   Kim Kashkashian, internationally recognized as a unique voice on the viola, was born of Armenian parents in Michigan. She studied the viola with Karen Tuttle and legendary violist Walter Trampler at the Peabody Conservatory of Music in Baltimore. Since fall 2000 she has taught viola and chamber music at New England Conservatory. Following Grammy Award nominations for several previous recordings, Kashkashian received a 2012 Grammy Award in the "Best Classical Instrumental Solo" category for Kurtág and Ligeti: Music for Viola, on the ECM Records label. Kashkashian's recording, with Robert Levin, of the Brahms Sonatas won the Edison Prize in 1999. Her June 2000 recording of concertos by Bartók, Eötvös and Kurtág won the 2001 Cannes Classical Award for a premiere recording by soloist with orchestra. In 2016, Kashkashian was elected a Fellow of the American Academy of Arts and Sciences. Kashkashian has worked tirelessly to broaden the range of technique, advocacy, and repertoire for the viola. A staunch proponent of contemporary music, she has developed creative relationships with György Kurtág, Krzysztof Penderecki, Alfred Schnittke, Giya Kancheli, and Arvo Pärt, and commissioned works from Peter Eötvös, Ken Ueno, Thomas Larcher, Lera Auerbach, and Tigran Mansurian. Marlboro and the Viennese school represented by her mentor, Felix Galimir, were major influences in developing her love of chamber music. Kim Kashkashian is a regular participant at the Verbier, Salzburg, Lockenhaus, Marlboro, and Ravinia festivals. She has long-standing duo partnerships with pianist Robert Levin and percussionist Robyn Schulkowsky, and played in a unique string quartet with Gidon Kremer, Daniel Phillips, and Yo-Yo Ma. As a soloist, she has appeared with the great orchestras of Berlin, London, Vienna, Milan, New York, and Cleveland, and in recital at the Metropolitan Museum of New York, Kaufmann Hall, New England Conservatory's Jordan Hall, as well as in Philadelphia, Pittsburgh, Cleveland, Frankfurt, Berlin, Paris, Athens, and Tokyo. Kashkashian's musicianship has been well represented on recordings through her association with the prestigious ECM label in a fruitful collaboration that has been continuous since 1985. Kim Kashkashian has taught in Bloomington, Indiana, and in Freiburg and Berlin, Germany, and now resides with her daughter in Boston. Kim is a founding member of Music for Food, an initiative by musicians to fight hunger in their home communities. B.M., Peabody Conservatory of Music; M.M., New School of Music Philadelphia. Viola with Walter Trampler and Karen Tuttle. Former faculty of University of Indiana and conservatories in Freiburg and Berlin, Germany.   LINKS: "Performing and Music Communication" Barbara Hannigan live in Berlin on Sarah´s Horn Hangouts: https://www.youtube.com/watch?v=0lFs1C_ewiE     PRACTICING FOR PEAK PERFORMANCE: I'm excited to tell you that Practicing for Peak Performance is now available for download! Go to MindOverFinger.com for access to all the tools that will help you transform your practice, gain confidence in your process, and start performing at your best.    With the purchase of PPP, you gain: Access to all recorded content - over 7 hours of instruction Guidance in effective high-performance systems Detailed handouts For a limited time only, a free 30-minute consultation with me. PPP alumnus Karmen Palusoo has this to say about it: “For a long time I have had this belief that learning an instrument is difficult and hard work or that it has to be, and there is no other way. Only a few weeks after PPP, I am starting to feel that change! My everyday practice sessions are now filled with freedom and ease!”   THANK YOU: A HUGE thank you to my fantastic producer, Bella Kelly, who works really hard to make this podcast as pleasant to listen to as possible for you. Most sincere thank you to composer Jim Stephenson who graciously provided the show's musical theme.  Concerto #1 for Trumpet and Chamber Orchestra – Movement 2: Allegro con Brio, performed by Jeffrey Work, trumpet, and the Lake Forest Symphony, conducted by Jim Stephenson. Thank you to pianist-singer-song-writer Louise Kelly for the introduction!  You can find out more about Kelly and her creative work by visiting louisekelly.com.    MIND OVER FINGER: As we head into this new season, I encourage you to visit MindOverFinger.com for a plethora of resources on mindful practice and information on how to work with me. Sign up for my newsletter and receive your free guide to a highly productive mindful practice using a metronome! mindoverfinger.com https://www.facebook.com/mindoverfinger/ https://www.facebook.com/groups/mindoverfinger https://www.instagram.com/mindoverfinger/

Was passiert, wenn 72 Engel auf einmal auftauchen und in den Dialog treten mit einem Saxophonquartett? Der Dirigent Peter Dijkstra weiß es, er hat das Stück "72 Angels" von Lera Auerbach 2016 uraufgeführt und bringt es jetzt erstmals nach München.

Een van de belangrijkste bespelers van de theremin - het instrument dat 100 jaar geleden werd uitgevonden door de Russische wetenschapper Léon (Lev) Theremin. Een kast met twee antennes, zo zou je de theremin kunnen omschrijven. Zet het instrument aan en er onststaan electromagnetische velden rond de antennes, en door de handen op de juiste manier te bewegen vóór die antennes kun je klanken opwekken en een melodie spelen. De verticale antenne wordt gebruikt voor de toonhoogte, de horizontale voor dynamiek en klankkarakteristieken. Dansen met je handen wordt zo op bijna magische wijze omgezet in betoverende klanken. Theremin reisde over de hele wereld om zijn instrument te promoten, waarbij hij onder meer werd geholpen door de destijds beroemde violiste Clara Rockmore, die het instrument leerde bespelen en er bijvoorbeeld de Sonate van César Franck op ten gehore bracht. In de jaren '40 en '50 duikt het instrument op in de filmmuziek, maar een blijvend succes bleek het niet te worden. Theremin werd verbannen naar Siberië op verdenking van anti-communistische activiteiten, en pas na de val van de muur kreeg hij de waardering die hij verdiende. Hij stierf op zeer hoge leeftijd in Moskou. Thorwald Jørgensen bracht op vrijdag 20 november 2020 zijn debuut-cd uit, met pianiste Kamilla Bystrova: Air Électrique, met composities van onder meer Lera Auerbach en Lydia Kavina.

Un día como hoy, 21 de octubre: 1790, nace Alphonse Lamartine. 1833, nace Alfred Nobel. 1846, nace Edmondo De Amicis. 1847, nace el escritor Guiseppe GIacosa. 1912, nace Sir Georg Solti. 1956, nace Carrie Fisher. 1973, nace la compositora Lera Auerbach. 1931, fallece el escritor Arthur Schnitzler. Una producción de Sala Prisma Podcast 2020

In this episode, I have the great pleasure of speaking about all things mindful practice with international cello soloist Alisa Weilerstein. Alisa has attracted widespread attention for her playing that combines natural virtuosity and technical precision with impassioned musicianship.  In this episode, Alisa shares insight on: How her parents nurtured a natural unfolding and healthy progression of her career Practicing: focusing efficient practice, intentional breaks and time off management (so important for long term sustainability + physical and mental health!) Her approach to learning a piece The importance of keeping musicality part of the technical work (as she said “Keeping everything married”) How practicing mindfully is the key for her to get rid of nerves and feel comfortable in performance How she plays mock performance for friends How to develop a natural rubato using the metronome … and much more!   It's an information and inspiration packed episode and I hope you enjoy and find value in our discussion!   MORE ABOUT ALISA WEILERSTEIN alisaweilerstein.com twitter.com/aweilerstein facebook.com/AlisaWeilerstein instagram.com/alisaweilerstein/   Alisa Weilerstein is one of the foremost cellists of our time. Known for her consummate artistry, emotional investment and rare interpretive depth, she was recognized with a MacArthur “genius grant” Fellowship in 2011. Today her career is truly global in scope, taking her to the most prestigious international venues for solo recitals, chamber concerts, and concerto collaborations with all the preeminent conductors and orchestras worldwide. “Weilerstein is a throwback to an earlier age of classical performers: not content merely to serve as a vessel for the composer's wishes, she inhabits a piece fully and turns it to her own ends,” marvels the New York Times. “Weilerstein's cello is her id. She doesn't give the impression that making music involves will at all. She and the cello seem simply to be one and the same,” agrees the Los Angeles Times. As the UK's Telegraph put it, “Weilerstein is truly a phenomenon.”   Bach's six suites for unaccompanied cello figure prominently in Weilerstein's current programming. Over the past two seasons, she has given rapturously received live accounts of the complete set on three continents, with recitals in New York, Washington DC, Boston, Los Angeles, Berkeley and San Diego; at Aspen and Caramoor; in Tokyo, Osaka, Guangzhou, Shenzhen, London, Manchester, Aldeburgh, Paris and Barcelona; and for a full-capacity audience at Hamburg's iconic new Elbphilharmonie. During the global pandemic, she has further cemented her status as one of the suites' leading exponents. Released in April 2020, her Pentatone recording of the complete set became a Billboard bestseller and was named “Album of the Week” by the UK's Sunday Times. As captured in Vox's YouTube series, her insights into Bach's first G-major prelude have been viewed almost 1.5 million times. During the first weeks of the lockdown, she chronicled her developing engagement with the suites on social media, fostering an even closer connection with her online audience by streaming a new movement each day in her innovative #36DaysOfBach project. As the New York Times observed in a dedicated feature, by presenting these more intimate accounts alongside her new studio recording, Weilerstein gave listeners the rare opportunity to learn whether “the pressures of a pandemic [can] change the very sound a musician makes, or help her see a beloved piece in a new way.”   Earlier in the 2019-20 season, as Artistic Partner of the Trondheim Soloists, Weilerstein joined the Norwegian orchestra in London, Munich and Bergen for performances including Haydn's two cello concertos, as featured on their acclaimed 2018 release, Transfigured Night. She also performed ten more concertos by Schumann, Saint-Saëns, Elgar, Strauss, Shostakovich, Britten, Barber, Bloch, Matthias Pintscher and Thomas Larcher, with the London Symphony Orchestra, Zurich's Tonhalle Orchestra, Frankfurt Radio Symphony, Gürzenich Orchestra Cologne, Tokyo's NHK Symphony, the New York Philharmonic, and the Houston, Detroit and San Diego symphonies. In recital, besides making solo Bach appearances, she reunited with her frequent duo partner, Inon Barnatan, for Brahms and Shostakovich at London's Wigmore Hall, Milan's Sala Verdi and Amsterdam's Concertgebouw. To celebrate Beethoven's 250th anniversary, she and the Israeli pianist performed the composer's five cello sonatas in Cincinnati and Scottsdale, and joined Guy Braunstein and the Dresden Philharmonic for Beethoven's Triple Concerto, as heard on the duo's 2019 Pentatone recording with Stefan Jackiw, Alan Gilbert and the Academy of St. Martin in the Fields.   Committed to expanding the cello repertoire, Weilerstein is an ardent champion of new music. She has premiered two important new concertos, giving Pascal Dusapin's Outscape “the kind of debut most composers can only dream of” (Chicago Tribune) with the co-commissioning Chicago Symphony in 2016 and proving herself “the perfect guide” (Boston Globe) to Matthias Pintscher's cello concerto un despertar with the co-commissioning Boston Symphony the following year. She has since reprised Dusapin's concerto with the Stuttgart and Paris Opera Orchestras and Pintscher's with the Gürzenich Orchestra Cologne and with the Danish Radio Symphony and Cincinnati Symphony, both under the composer's leadership. It was also under Pintscher's direction that she gave the New York premiere of his Reflections on Narcissus at the New York Philharmonic's inaugural 2014 Biennial, before reuniting with him to revisit the work at London's BBC Proms. She has worked extensively with Osvaldo Golijov, who rewrote Azul for cello and orchestra for her New York premiere performance at the opening of the 2007 Mostly Mozart Festival. Since then she has played the work with orchestras around the world, besides frequently programming his Omaramor for solo cello. Grammy nominee Joseph Hallman has written multiple compositions for her, including a cello concerto that she premiered with the St. Petersburg Philharmonic and a trio that she premiered on tour with Barnatan and clarinetist Anthony McGill. At the 2008 Caramoor festival, she premiered Lera Auerbach's 24 Preludes for Violoncello and Piano with the composer at the keyboard, and the two subsequently reprised the work at the Schleswig-Holstein Festival, Washington's Kennedy Center and for San Francisco Performances.   Weilerstein's recent Bach and Transfigured Night recordings expand her already celebrated discography. Earlier releases include the Elgar and Elliott Carter cello concertos with Daniel Barenboim and the Staatskapelle Berlin, named “Recording of the Year 2013” by BBC Music, which made her the face of its May 2014 issue. Her next album, on which she played Dvořák's Cello Concerto with the Czech Philharmonic, topped the U.S. classical chart, and her 2016 recording of Shostakovich's cello concertos with the Bavarian Radio Symphony and Pablo Heras-Casado proved “powerful and even mesmerizing” (San Francisco Chronicle). She and Barnatan made their duo album debut with sonatas by Chopin and Rachmaninoff in 2015, a year after she released Solo, a compilation of unaccompanied 20th-century cello music that was hailed as an “uncompromising and pertinent portrait of the cello repertoire of our time” (ResMusica, France). Solo's centerpiece is Kodály's Sonata for Solo Cello, a signature work that Weilerstein revisits on the soundtrack of If I Stay, a 2014 feature film starring Chloë Grace Moretz in which the cellist makes a cameo appearance as herself.   Weilerstein has appeared with all the major orchestras of the United States, Europe and Asia, collaborating with conductors including Marin Alsop, Daniel Barenboim, Jiří Bělohlávek, Semyon Bychkov, Thomas Dausgaard, Sir Andrew Davis, Gustavo Dudamel, Sir Mark Elder, Alan Gilbert, Giancarlo Guerrero, Bernard Haitink, Pablo Heras-Casado, Marek Janowski, Paavo Järvi, Lorin Maazel, Cristian Măcelaru, Zubin Mehta, Ludovic Morlot, Yannick Nézet-Séguin, Peter Oundjian, Rafael Payare, Donald Runnicles, Yuri Temirkanov, Michael Tilson Thomas, Osmo Vänskä, Joshua Weilerstein, Simone Young and David Zinman. In 2009, she was one of four artists invited by Michelle Obama to participate in a widely celebrated and high-profile classical music event at the White House, featuring student workshops hosted by the First Lady and performances in front of an audience that included President Obama and the First Family. A month later, Weilerstein toured Venezuela as soloist with the Simón Bolívar Symphony Orchestra under Dudamel, since when she has made numerous return visits to teach and perform with the orchestra as part of its famed El Sistema music education program.   Born in 1982, Alisa Weilerstein discovered her love for the cello at just two and a half, when she had chicken pox and her grandmother assembled a makeshift set of instruments from cereal boxes to entertain her. Although immediately drawn to the Rice Krispies box cello, Weilerstein soon grew frustrated that it didn't produce any sound. After persuading her parents to buy her a real cello at the age of four, she developed a natural affinity for the instrument and gave her first public performance six months later. At 13, in 1995, she made her professional concert debut, playing Tchaikovsky's “Rococo” Variations with the Cleveland Orchestra, and in March 1997 she made her first Carnegie Hall appearance with the New York Youth Symphony. A graduate of the Young Artist Program at the Cleveland Institute of Music, where she studied with Richard Weiss, Weilerstein also holds a degree in history from Columbia University. She was diagnosed with type 1 diabetes (T1D) at nine years old, and is a staunch advocate for the T1D community, serving as a consultant for the biotechnology company eGenesis and as a Celebrity Advocate for JDRF, the world leader in T1D research. Born into a musical family, she is the daughter of violinist Donald Weilerstein and pianist Vivian Hornik Weilerstein, and the sister of conductor Joshua Weilerstein. She is married to Venezuelan conductor Rafael Payare, with whom she has a young child.     Visit www.mindoverfinger.com and sign up for my newsletter to get your free guide to a super productive practice using the metronome!  This guide is the perfect entry point to help you bring more mindfulness and efficiency into your practice and it's filled with tips and tricks on how to use that wonderful tool to take your practicing and your playing to new heights! Don't forget to visit the Mind Over Finger Resources' page to check out amazing books recommended by my podcast guests, as well as my favorite websites, cds, the podcasts I like to listen to, and the practice and podcasting tools I use everyday!  Find it here: www.mindoverfinger.com/resources!   And don't forget to join the Mind Over Finger Tribe for additional resources on practice and performing! If you enjoyed the show, please leave a review on iTunes!  I truly appreciate your support!     THANK YOU: Most sincere thank you to composer Jim Stephenson who graciously provided the show's musical theme!  Concerto #1 for Trumpet and Chamber Orchestra – Movement 2: Allegro con Brio, performed by Jeffrey Work, trumpet, and the Lake Forest Symphony, conducted by Jim Stephenson. Also a HUGE thank you to my fantastic producer, Bella Kelly!   MIND OVER FINGER: www.mindoverfinger.com https://www.facebook.com/mindoverfinger/ https://www.instagram.com/mindoverfinger/    

- direkte fra Luthersk Missions Højskole i Hillerød. Den kun 4 år gamle festival bøjer ikke nakken for coronaen, men gennemfører et ambitiøst program. I aften er det koncerter af Mozart sat overfor musik af Lera Auerbach.Lera Auerbach: 24 præludier for violin og klaver op 46.Mozart: Klarinetkoncert (for kammerbesætning). Mozart: Klaverkoncert nr. 10 (for to flygler og ensemble).Den Danske Klaverduo. Festivalensemblet:Sigrun Edvaldsdottir & Christian Ellegaard, violin. Mina Fred, Bratsch.Andreas & Ingemar Brantelid, cello. John Kruse, klarinet. Vært: Mathias Hammer. www.dr.dk/p2koncerten

Das Raschèr Saxophone Quartet gibt am 10. Juli um 20 Uhr ein Online-Konzert in der Freiburger Meckelhalle. Auf dem Programm stehen Werke von Lera Auerbach, Bernhard Gander, Philip Glass und Arvo Pärt. Das Konzert ist im Livestream auf der SWR2-Website und auf dem Kanal #inFreiburgzuhause abrufbar.

durée : 01:00:01 - En pistes, contemporains ! du dimanche 24 mai 2020 - par : Emilie Munera - Premier enregistrement mondial du 3ème concerto pour piano de John Adams par la pianiste Yuja Wang, un deuxième album d'Eric Montalbetti centré sur la musique de chambre, John Cage rencontre Erik Satie dans le nouvel opus des pianistes Anne de Fornel et Jay Gottlieb... - réalisé par : Claire Lagarde

De pianoconcerten van Ludwig van Beethoven, gespeeld door Ronald Brautigam op de fortepiano. Oftewel: hoe je overbekend repertoire nog steeds als nieuw kan laten klinken, nota bene op een instrument 'van vroeger'. Ook een nieuwe CD met werk van onder meer Hans van Eck, die een toelichting geeft op zijn (jeugd)werk 'Zes Haiku's'. En de engelen van Lera Auerbach zijn terug! Met muziek van Ludwig van Beethoven, Lera Auerbach, en Hans van Eck.

Een nieuwe CD met muziek van Johannes Kreidler, door pianist Martin Tchiba, èn ook nog niet zo lang uit: 72 Angels van Lera Auerbach. Tenslotte: de muziek bij de film The Lighthouse is een ode aan de misthoorn: angstaanjagend en mysterieus. Muziek van Claude Debussy, György Ligeti, Benjamin Britten, Mark Korven, Johannes Kreidler, Lera Auerbach, George De Decker.

Wir begrüßen den österreichischen Pianisten Rudolf Buchbinder als neues Mitglied in der DG-Familie - und auch er freut sich aufs Gelbe Label! Das zeigt "Monsieur Diabelli" in bester Laune zu Gast bei Holger Wemhoff. Buchbinder, der als 7-jähriger schon Beethoven-Werke gespielt hat, beschreibt, welch immens-wichtige Bedeutung das Leben von Beethoven in seinem Leben hat und wie er dadurch in seinem Werdegang geprägt wurde. Als Schmankerl verrät Rudolf Buchbinder auch seinen peinlichen Bühnenmoment mit offenem Hosenstall. Jetzt hier reinhören!

There are many women composers these days, and this program introduces some of them: Caroline Shaw, Ellen Taaffe Zwilich, Anna Thorvaldsdottir, Lera Auerbach, Kaija Saariaho, Chen Yi, Jennifer Higdon, Libby Larsen, Missy Mazzoli, Gabriela Lena Frank, and Tania Leon.

Nieuwe CD's, oude platen, concerttips en archiefopnamen: de grenzen van de klassieke muziek opgezocht in de Late Night Show van Vrije Geluiden. Op zondag kiest Aad van Nieuwkerk o.a. muziek die ook gebruikt werd in Visconti's klassieker uit 1971 Death in Venice. En een tip voor het Festival Jong Talent op Schiermonnikoog (vanaf 16 maart): masterclasses, documentaires, lezingen, genieten van de natuur en natuurlijk prachtige concerten door jonge èn bekende professionals, van het Delta Piano Trio (die een bewerking van Schönbergs Verklärte Nacht gaan spelen!) tot en met pianist Thomas Beijer. Met muziek van Kjartan Sveinsson, Lera Auerbach, Gustav Mahler, en Celia Swart.

Tom Klaassen verkent iedere zaterdag en zondag tussen 23.00 en 24.00 uur de grenzen van de klassieke muziek. Met nieuwe releases, concerttips, reportages, actuele ontwikkelingen in de muziekwereld, een vaste plek voor jong talent, en natuurlijk: adembenemende muziek! Gemaakt in nauwe samenwerking met het televisieprogramma Vrije Geluiden. Met muziek van William Byrd, Thomas Weelkes, Bill Evans, Silvan Loher, Lera Auerbach en Aart Strootman.

Som 17-åring inbjöds hon till New York för en solokonsert och stannade kvar. Lera Auerbach, från radioaktiva, ryska staden Chelyabinsk, är nu en av de främsta tonsättarna och spelas världen över.   Tillfälligheternas spel är en programserie i fem avsnitt. I första programmet möter vi tonsättaren, konsertpianisten, författaren, skulptören och bildkonstnären Lera Auerbach. Ett underbarn vars första opera framfördes inför publik när hon var 8 år. Jag möter denna renässanskvinna, som har kallats ett universalgeni, i Köpenhamn. Hon bjuder in mig till en liten våning i det nybyggda området i Nordhamnen. Högt upp, stora fönster och i det största rummet tronar en flygel. -Jag hyr lägenheten enbart p g a flygeln, säger hon. Ja, det var tillfälligheternas spel som gjorde att Lera Auerbach redan som 17-åring fick möjlighet att lämna den radioaktiva staden Chelyabinsk, resa till New York och utvecklas till den internationellt välrenommerade konstnär hon är idag. Hon anlände ensam till New York, utan att kunna språket, utan att känna någon. Hon skulle stanna i två veckor. Året var 1991 och sex veckor innan Sovjetunionens fall. - Jag hade inga pengar och kunde inte språket. Men mina föräldrar var modiga och sa att detta är ett beslut som kommer att förändra ditt liv för alltid. Vad du än beslutar så är det rätt beslut! Lera Auerbach tog senare examen i piano och även i komposition vid Julliard School of Music i New York. Och som pianist även vid Hochschule für Musik i Hannover. Hennes favorit-tonsättare som pianist är Mozart, Liszt, Sjostakovitj och Mussorgsky. Efter en konsert med New Yorkfilharmonikerna skrev New York Times: Lera Auerbach är förbluffande! Hennes mångsidighet är nästan otrolig. Hon är en passionerad pianist med massor av temperament, en naturlig tonsättare och artist, snabb att absorbera och tillgodogöra sig allt omkring sig. Washington Post beskrev Lera Auerbach som "ett pianistiskt kraftverk och hennes framförande som en fin balans mellan sensitivitet och virtuositet. Leras Auerbachs verklista innefattar ca 150 kompositioner. Hon har tonsatt två operor: Gogol om den ryska författaren Nikolaj Gogol, som hon även skrev librettot till. Det var första gången en stor opera, tonsatt av en kvinna, sattes upp i Wien. Hon har även komponerat 20 orkesterverk, bl a tre symfonier, konserter, solostycken, 3 rekviem, körmusik, sånger, 8 stråkkvartetter, 24 preludier för violin och piano, 24 preludier för cello och piano, 24 preludier för altfiol och piano, ja, hur mycket kammarmusik som helst. Hennes senaste balettmusik Tatiana är baserad på Alexander Pushkins versroman Eugen Onegin.  Lera Auerbach har även publicerat fem egna volymer med poesi och prosa och skrivit dramatik. 1996 utnämndes hon till Årets Poet av Det internaionella Pushkin-sällskapet. - Pushkin är Rysslands Shakespeare och litteraturens Mozart. Han har en lätt, flytande och mästerlig hand. Med sitt virtuosa och samtidigt lekfullt, enkla språk bär Puskjins fram själens mest intima skrymslen. Det är genialt och var utan motstycke i Ryssland innan honom, förklarar Lera Auerbach! Lera Auerbachs Symfoni nr 3 har också titeln The Infant Minstrel and His Peculiar Menagerie Barnsångaren och hans särskilda djurpark. Det är en nästan 38 minuter lång symfonisk fantasi för violin, kör och orkester. Beställd inför Proms och uruppfördes i Royal Albert Hall, London. Det var Lera Auerbachs egen skulptur Månryttaren som inspirerade henne till musiken och texten till The Infant Minstrel and His Peculiar Menagerie, Symfoni nr 3. Det brukar annars vara tvärtom. En av Lera Auerbachs senaste bronsskulpturer har titeln Hör mig. Den liknar en helt avmagrad hund som skriker ut sitt lidande. - Med skulpturen sätter jag fokus på det faktum att det fortfarande läcker radioaktivitet från kärnkraftsverket Majak som kontaminerar bl a den tremiljonersstad där jag föddes, Chelyabinsk i Uralbergen, på gränsen till Sibirien. - Många tror att Chernobyl är den radioaktivt mest förorenade staden på jorden, men efter många kärnkraftsolyckor i området är det Chelyabinsk som är mest kontaminerad. Detta tystas fortfarande ner, berättar Lera Auerbach. Denna enormt produktiva och kreativa kvinna har även tonsatt Dialoger om Stabat Mater, en slags kommentar till Pergolesis vackra svit från 1736. Violinisten Gidon Kremer spelar den tillsammans med sin ensemble Kremerata Baltica. 2012 var Lera Auerbach Composer in Residence hos den legendariska orkestern Dresden Staatskapelle, grundad 1548, där bl a Hans-Werner Henze, Wolfgang Riem, Sofia Gubajdolina och Arvo Pärt innehaft samma position. Bland kända chefdirigenter vid orkestern finns bl a Carl-Maria von Weber, Richard Wagner, Richard Strauss och Herbert Blomstedt. Det centrala verk som Dresden Staatskapelle beställde av Lera Auerbach är ett Rekviem och har titeln Ode to Peace Ode till Fred. Lera Auerbach är i Köpenhamn som Composer in Residence för Rudersdals sommarkonserter. Konstnärlig ledare där är violinisten Christine Pryn, som också medverkar i programmet. Men det är inte första gången Lera Auerbach är i Köpenhamn. 2005, då det nya operahuset på Holmen invigdes och Danmark firade 200-årsminnet av H C Andersens födelse, uruppfördes hennes helsftonsbaletten Den lilla sjöjungfrun av den legendariske koreografen John Neumeier från Balettzentrum Hamburg. Baletten har senare spelats i 300 föreställningar över hela världen. Själv delar hon in livet i före och efter Den lilla sjöjungfrun, det största och svåraste verk hon komponerat. - Författaren H C Andersen var en outsider i det danska och Den lilla sjöjungfrun trivdes inte med tillvaron under vattnet utan ville bli mänsklig. På ett personligt plan identifierar jag mig med dessa båda, förklarar Lera Auerbach. - Varje gång jag försöker anpassa mig till en viss identitet: ryss eller amerikan, konsertpianist eller tonsättare, så blir jag deprimerad. Och mitt skapande blir inte alls bättre av det, säger Lera Auerbach. Därför har hon bestämt sig för att strunta i vad folk tänker och tror och göra det hon själv känner för.     Musiklista: Lonely Suite Lera Auerbach Vadim Gluzman, Violin   Robert Schumann Kinderzenen Lera Auerbach, piano   Sonata No.7 Prokofiev Lera Auerbach, piano   Pictures At An Exhibition Mussorsgsky Lera Auerbach, piano   Sonat För Violin & Piano Op 63 Lera Auerbach Vadim Gluzman, violin Angela Yoffe, piano   The Infant Minstrel And His Peculiar Menagerie (Symphony No 3) Lera Auerbach Vadim Gluzman, Violin Edward Gardner, Dirigent   Stabat Mater Pergolesi The Academy Of Ancient Music Christopher Hogwood Emma Kirkby James Bowman   Sogno Di Stabat Mater Lera Auerbach Gidon Kremer, Ula Ulijona, Andrej Pusjkarjov, Kremerata Baltica   Requiem Ode To Peace Lera Auerbach Dresden Staatskapelle   Par.ti.ta: III. Andantino scherzando Lera Auerbach  Vadim Gluzman, violin   Eterniday Hommage A W. A. Mozart. FuR Große Trommel, Celesta Und Streichorches Lera Auerbach Renska Filharmonin Daniel Raiskin, Dirigent

Som 17-åring inbjöds hon till New York för en solokonsert och stannade kvar. Lera Auerbach, från radioaktiva, ryska staden Chelyabinsk, är nu en av de främsta tonsättarna och spelas världen över.   Tillfälligheternas spel är en programserie i fem avsnitt av Birgitta Tollan. I första programmet möter vi tonsättaren, konsertpianisten, författaren, skulptören och bildkonstnären Lera Auerbach. Ett underbarn vars första opera framfördes inför publik när hon var 8 år. Jag möter denna renässanskvinna, som har kallats ett universalgeni, i Köpenhamn. Hon bjuder in mig till en liten våning i det nybyggda området i Nordhamnen. Högt upp, stora fönster och i det största rummet tronar en flygel. -Jag hyr lägenheten enbart p g a flygeln, säger hon. Ja, det var tillfälligheternas spel som gjorde att Lera Auerbach redan som 17-åring fick möjlighet att lämna den radioaktiva staden Chelyabinsk, resa till New York och utvecklas till den internationellt välrenommerade konstnär hon är idag. Hon anlände ensam till New York, utan att kunna språket, utan att känna någon. Hon skulle stanna i två veckor. Året var 1991 och sex veckor innan Sovjetunionens fall. - Jag hade inga pengar och kunde inte språket. Men mina föräldrar var modiga och sa att detta är ett beslut som kommer att förändra ditt liv för alltid. Vad du än beslutar så är det rätt beslut! Lera Auerbach tog senare examen i piano och även i komposition vid Julliard School of Music i New York. Och som pianist även vid Hochschule für Musik i Hannover. Hennes favorit-tonsättare som pianist är Mozart, Liszt, Sjostakovitj och Mussorgsky. Efter en konsert med New Yorkfilharmonikerna skrev New York Times: Lera Auerbach är förbluffande! Hennes mångsidighet är nästan otrolig. Hon är en passionerad pianist med massor av temperament, en naturlig tonsättare och artist, snabb att absorbera och tillgodogöra sig allt omkring sig. Washington Post beskrev Lera Auerbach som "ett pianistiskt kraftverk och hennes framförande som en fin balans mellan sensitivitet och virtuositet. Leras Auerbachs verklista innefattar ca 150 kompositioner. Hon har tonsatt två operor: Gogol om den ryska författaren Nikolaj Gogol, som hon även skrev librettot till. Det var första gången en stor opera, tonsatt av en kvinna, sattes upp i Wien. Hon har även komponerat 20 orkesterverk, bl a tre symfonier, konserter, solostycken, 3 rekviem, körmusik, sånger, 8 stråkkvartetter, 24 preludier för violin och piano, 24 preludier för cello och piano, 24 preludier för altfiol och piano, ja, hur mycket kammarmusik som helst. Hennes senaste balettmusik Tatiana är baserad på Alexander Pushkins versroman Eugen Onegin.  Lera Auerbach har även publicerat fem egna volymer med poesi och prosa och skrivit dramatik. 1996 utnämndes hon till Årets Poet av Det internaionella Pushkin-sällskapet. - Pushkin är Rysslands Shakespeare och litteraturens Mozart. Han har en lätt, flytande och mästerlig hand. Med sitt virtuosa och samtidigt lekfullt, enkla språk bär Puskjins fram själens mest intima skrymslen. Det är genialt och var utan motstycke i Ryssland innan honom, förklarar Lera Auerbach! Lera Auerbachs Symfoni nr 3 har också titeln The Infant Minstrel and His Peculiar Menagerie Barnsångaren och hans särskilda djurpark. Det är en nästan 38 minuter lång symfonisk fantasi för violin, kör och orkester. Beställd inför Proms och uruppfördes i Royal Albert Hall, London. Det var Lera Auerbachs egen skulptur Månryttaren som inspirerade henne till musiken och texten till The Infant Minstrel and His Peculiar Menagerie, Symfoni nr 3. Det brukar annars vara tvärtom. En av Lera Auerbachs senaste bronsskulpturer har titeln Hör mig. Den liknar en helt avmagrad hund som skriker ut sitt lidande. - Med skulpturen sätter jag fokus på det faktum att det fortfarande läcker radioaktivitet från kärnkraftsverket Majak som kontaminerar bl a den tremiljonersstad där jag föddes, Chelyabinsk i Uralbergen, på gränsen till Sibirien. - Många tror att Chernobyl är den radioaktivt mest förorenade staden på jorden, men efter många kärnkraftsolyckor i området är det Chelyabinsk som är mest kontaminerad. Detta tystas fortfarande ner, berättar Lera Auerbach. Denna enormt produktiva och kreativa kvinna har även tonsatt Dialoger om Stabat Mater, en slags kommentar till Pergolesis vackra svit från 1736. Violinisten Gidon Kremer spelar den tillsammans med sin ensemble Kremerata Baltica.  2012 var hon Composer in Residence hos den legendariska orkestern Dresden Staatskapelle, grundad 1548, där bl a Hans-Werner Henze, Wolfgang Riem, Sofia Gubajdolina och Arvo Pärt innehaft samma position. Bland kända chefdirigenter vid orkestern finns bl a Carl-Maria von Weber, Richard Wagner, Richard Strauss och Herbert Blomstedt. Det centrala verk som Dresden Staatskapelle beställde av Lera Auerbach är ett Rekviem och har titeln Ode to Peace Ode till Fred. Lera Auerbach är i Köpenhamn som Composer in Residence för Rudersdals sommarkonserter. Konstnärlig ledare där är violinisten Christine Pryn, som också medverkar i programmet. Men det är inte första gången Lera Auerbach är i Köpenhamn. 2005, då det nya operahuset på Holmen invigdes och Danmark firade 200-årsminnet av H C Andersens födelse, uruppfördes hennes helsftonsbaletten Den lilla sjöjungfrun av den legendariske koreografen John Neumeier från Balettzentrum Hamburg. Baletten har senare spelats i 300 föreställningar över hela världen. Själv delar hon in livet i före och efter Den lilla sjöjungfrun, det största och svåraste verk hon komponerat. - Författaren H C Andersen var en outsider i det danska och Den lilla sjöjungfrun trivdes inte med tillvaron under vattnet utan ville bli mänsklig. På ett personligt plan identifierar jag mig med dessa båda, förklarar Lera Auerbach. - Varje gång jag försöker anpassa mig till en viss identitet: ryss eller amerikan, konsertpianist eller tonsättare, så blir jag deprimerad. Och mitt skapande blir inte alls bättre av det, säger Lera Auerbach. Därför har hon bestämt sig för att strunta i vad folk tänker och tror och göra det hon själv känner för.

The last of our four shows devoted to the cello features selections from our newest cello recordings: Celloquy (cello and piano music of Lera Auerbach) with Ani Aznavoorian (and the composer at the piano) and Haydn & Myslivecek Cello Concertos with Wendy Warner and Camerata Chicago conducted by Drostan Hall. January 29 Cello on Cedille Part 4: Our Newest Cello Recordings LERA AUERBACH (b. 1973) 24 Preludes for violoncello and piano No. 12 Adagio (4:59) No. 13 Andantino grazioso (2:08) No. 14 Allegretto scherzando (1:18) No. 15 Allegro con brio (1:00) No. 16 Tempo di valzer (3:18) No. 17 Allegro ritmico (2:44) No. 18 Andantino (1:27)               From Celloquy Cedille Records CDR 90000 137 (Tracks 12–18) Ani Aznavoorian, cello Lera Auerbach, piano LERA AUERBACH Postlude for violoncello and piano (3:08)               From Celloquy Cedille Records CDR 90000 137 (Track 29) Ani Aznavoorian, cello Lera Auerbach, piano FRANZ JOSEPH HAYDN (1732–1809) Cello Concerto in D major I. Allegro moderato (15:57)               From Haydn & Mysliveček Cello Concertos Cedille Records CDR 90000 142 (Track 7) Wendy Warner Camerata Chicago Drostan Hall, Conductor JOSEF MYSLIVEČEK (1737–1781) Cello Concerto in C major II. Grave (7:10)              From Haydn & Mysliveček Cello Concertos Cedille Records CDR 90000 142 (Track 5) Wendy Warner Camerata Chicago Drostan Hall, Conductor FRANZ JOSEPH HAYDN (1732–1809) Cello Concerto in C major III. Allegro molto (6:30)               From Haydn & Mysliveček Cello Concertos Cedille Records CDR 90000 142 (Track 3) Wendy Warner Camerata Chicago Drostan Hall, Conductor