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Preludes & Dreams


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Audio CD, August 8, 2006
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Editorial Reviews


1. Preludes (24) for piano, Op. 41: 1. C major. Moderato
2. Preludes (24) for piano, Op. 41: 2. A minor. Presto
3. Preludes (24) for piano, Op. 41: 3. G major. Moderato
4. Preludes (24) for piano, Op. 41: 4. E minor. Appassionato - Nostalgico
5. Preludes (24) for piano, Op. 41: 5. D major. Andantino sognando
6. Preludes (24) for piano, Op. 41: 6. B minor. Corale
7. Preludes (24) for piano, Op. 41: 7. A major. Andante
8. Preludes (24) for piano, Op. 41: 8. F sharp minor. Presto
9. Preludes (24) for piano, Op. 41: 9. E major. Allegretto
10. Preludes (24) for piano, Op. 41: 10. C sharp minor. Largo
11. Preludes (24) for piano, Op. 41: 11. B major. Misterioso
12. Preludes (24) for piano, Op. 41: 12. G sharp minor. Allegro brutale
13. Preludes (24) for piano, Op. 41: 13. F sharp major. Andante
14. Preludes (24) for piano, Op. 41: 14. E flat minor. Allegretto
15. Preludes (24) for piano, Op. 41: 15. D flat major. Moderato
16. Preludes (24) for piano, Op. 41: 16. B flat minor. Allegro ma non troppo, tragico
17. Preludes (24) for piano, Op. 41: 17. A flat major. Adagio tragico
18. Preludes (24) for piano, Op. 41: 18. F minor. Grave
19. Preludes (24) for piano, Op. 41: 19. E flat major. Andante religioso
20. Preludes (24) for piano, Op. 41: 20. C minor. Misterioso
See all 37 tracks on this disc

Product Details

  • Audio CD (August 8, 2006)
  • SPARS Code: DDD
  • Number of Discs: 1
  • Label: BIS
  • ASIN: B000H9HUPW
  • Average Customer Review: 4.2 out of 5 stars  See all reviews (4 customer reviews)
  • Amazon Best Sellers Rank: #779,622 in Music (See Top 100 in Music)

Customer Reviews

4.2 out of 5 stars
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Most Helpful Customer Reviews

5 of 5 people found the following review helpful By David Baptista on February 19, 2010
Format: Audio CD Verified Purchase
Lera Auerbach is a modern composer and pianist, often found performing her own compositions. In this CD, she presents three works, each one composed of a set of small pieces. We can hear on this CD how brilliant of a pianist Auerbach is, displaying an impressive tonal range and total command of the keyboard. Concerning the compositions, I found the quality to be variable. The Prelude in B flat Minor and the Prelude in G sharp Minor are both impressive pieces, challenging the tonal range of the piano by conception, and with impressive emotional content. In contrast, the Prelude in G Major and the Prelude in B Minor seem almost devoid of musical character, being strongly tied by arbitrary motific constraints that overpower any strand of musical content; seemingly they were developed with the sole intention of stressing the dissonance in a major seventh (in the first) or a minor second (in the second) over and over again, without purpose. Although three different works are presented, they definitely share a musical bond and make sense when presented together. The CD excels as a showcase of the world of Lera Auerbach as a pianist and composer, but one must be prepared to have an adventurous ear.
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18 of 23 people found the following review helpful By Melvyn M. Sobel on August 29, 2006
Format: Audio CD
This latest excursion into the creative mind of pianist/composer Lera Auerbach [b. 1973] offers up her first disc of solo piano works, an enterprising venture, exceptionally illuminating, disturbing, profound. Most apparent is the depth of her artistic voice, followed by the breadth of her communicative powers. The Preludes for Piano, Op. 41 [1999] is a brooding, dark work: twenty-four segmented "perspectives" that form a rather ingenious, yet ominous whole. These are daring pieces--- potent and subtle, simultaneously--- whose unyielding vision forces immediate attention, and whose dynamism is both ruthless and beckoning. Startlingly original is the ability of Auerbach to cast an aura of otherworldliness around these compositions and to press for the reversal of musical perception, attitude, awareness. The distillations of Op. 41 are followed hard on the heels by her Ten Dreams, Op. 45 [1999], which seem haunting extensions of the Preludes. There is an inevitability about these "nachtstucke" that is relentless, yet familiar; disconcerting, yet liberating. As well, there is no mistaking Lera's modernist utterances, despite the titles, for anything else, and whether or not these are uncompromising homage's to Chopin, Debussy or Shostakovich will reside in the ear of the listener. The Op. 31 Chorale, Fugue and Postlude [1994/2003] is a magnificent "transposition" of traditional form: an eerily reminiscent, elegant, austere and ruminative testimonial of existential resolve. Supporting Auerbach's musical landscape every note of the way is the stark, slightly ambient piano sound given her by BIS engineer Hans Kipfer.

[Running time: 80:05]
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6 of 7 people found the following review helpful By GEORGE FLANAGIN on January 29, 2012
Format: Audio CD Verified Purchase
Preludes and Dreams written and performed by Lera Auerbach.Cycling through the 24 keys by means of a series of short pieces is an old tradition, more or less headed by J. S. Bach's twin efforts known as Book I and Book II of Das Wohltemperierte Klavier as well as his two and three part inventions. Many other composers have followed, and the well worn path continued through the 20th century, notably with Shostakovich's 24 Preludes of 1933 and the later 24 Preludes and Fugues of 1951. [ I admit a personal fondness for Nikolai Kapustin's 24 Preludes in Jazz Style of 1988. ]

The 24 Preludes for Piano, Op. 41 by Lera Auerbach date from the very close of the 20th century, 1999, as do the Ten Dreams, Op 45. The final piece is listed as Chorale, Fugue, and Postlude, Op 31, and it is given the dates '1994 / 2003', which I take to mean it has been revised.

I have a few hundred recordings by BIS, and almost all have very good liner notes that contribute to one's understanding of music that is often unfamiliar and new. BIS has recorded a number of modern composers, and providing badly needed background information is one of their strengths.

Not so in this case. Included is a short essay by Axel Brüggemann, and the essay only mentions the 24 Preludes. It spends most of its two plus pages eulogizing the composer. An essay of similar size, uncredited, provides a biography of Auerbach's accomplishments and some of her performance history.

A disappointment, but it gives me something to research. Still, this recording is a must buy for those of us who are curious where traditional forms of music are headed in the 21st century.
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By Christopher Ammons on December 26, 2014
Format: Audio CD
Memorable and powerful, definitely worth checking out.
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