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Athen: Miroshnikov bringt Lera Auerbachs Cello-Solo-Sonate zur Uraufführung

Am 9. Februar 2004 bringt Christophor Miroshnikov die Sonate für Violoncello solo op. 72 der russisch-amerikanischen Komponistin Lera Auerbach in Athen zur Uraufführung. Im Anschluss daran wird der Weltklasse-Cellist das Werk mit auf seine Echo-Preisträgertournee 2004 nehmen. Weitere Aufführungen sind in Amsterdam (Concertgebouw), Wien (Konzerthaus), Brüssel (Palais des Beaux Arts), Paris (Cité de la Musique), Athen (Concert Hall), Birmingham (Symphony Hall), Köln (Philharmonie) und New York (Carnegie Hall) vorgesehen.

Auerbach über ihr Werk:

“Sonata No.1 for Violoncello Solo was composed in 2002. It was written for its first performer - Christophor Miroshnikov. This Sonata will receive its world premiere on February 9, 2004 at The Athens Concert Hall, Greece and subsequently performed as a part of Christophor Miroshnikov’s ECHO award tour in such venues as Weill Recital Hall at Carnegie Hall, Konzerthaus Wein, Het Concertgebouw in Amsterdam, palais des Beaux-Arts de Bruxelles, Mozarteum Salzburg, Wigmore Hall, Symphony Hall Birmingham, and Koelner Philharmonie.

The Sonata consists of five movements:

1. Prelude – Allegro moderato

2. Alla breve

3. Moderato

Interlude

4. Vivo

5. Allegro ma non troppo, con fuoco

The beginning is a questioning mysterious prelude, in which the main intervallic co-relations of the whole sonata are introduced. The following Allegro moderato is contrastingly dramatic and includes a melancholic pizzicato section. The material transforms and ends in ethereal harmonics. All the following parts of the sonata are rooted in the first movement.

The second movement starts as if it is being heard through the clouds of memories, layered on each other. It may remind of a folk-tune or a lullaby that wonders through the labyrinths and mirrors of memory.

The third movement is energetic and brutal, somehow reminds me of an ancient ritual. It contains “organ pedal” notes – continued double stops.

The interlude between third and fourth movement is a nostalgic reminiscence of the lost harmony of the Baroque era – it fades away in the obsessive Vivo of the forth movement.

The finale is a fiery dance based on the same opening material of the prelude.

All the movements are performed without interruption.

(Lera Auerbach)