{"id":10979,"date":"2013-03-27T06:16:23","date_gmt":"2013-03-27T11:16:23","guid":{"rendered":"https:\/\/www.ludwig-van.com\/?p=10979"},"modified":"2013-03-27T06:16:23","modified_gmt":"2013-03-27T11:16:23","slug":"album-review-compelling-eclectic-sound-of-lera-auerbachs-24-preludes-for-cello-and-piano","status":"publish","type":"post","link":"https:\/\/www.ludwig-van.com\/toronto\/2013\/03\/27\/album-review-compelling-eclectic-sound-of-lera-auerbachs-24-preludes-for-cello-and-piano\/","title":{"rendered":"Album review: Compelling, eclectic sound of Lera Auerbach’s 24 Preludes for cello and piano"},"content":{"rendered":"
\"Lera<\/a>
Lera Auerbach<\/figcaption><\/figure>\n

Russian-born American pianist and composer Lera Auerbach<\/a> is a remarkably busy person who still manages to come up with fascinating new music in a variety of genres, including opera. Her love of miniatures set in a larger framework includes a set of 24 Preludes<\/em> for cello and piano which she has recorded with Ani Aznavoorian<\/a> for the Cedille label.<\/p>\n

Ever since J.S. Bach decided to show how equal-temperament tuning would allow a keyboard to be played in any key, composers have been inspired to write sets of pieces that range across the 12 major and 12 minor keys.<\/p>\n

“Re-establishing the value and expressive possibilities of all major and minor tonalities is as valid at the beginning of the 21st century as it was during Bach’s time,” writes Auerbach in her album notes. She is referring to the inspiration a new generation of composers is finding in tonal music.<\/p>\n

Auerbach is also an emblem of the current love for eclecticism, pulling in a variety of influences — not the least of which is Bach, in the solo cello Prelude No.13<\/em>, of which I’ve included the opening measures here:<\/p>\n