#leraauerbach — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #leraauerbach, aggregated by home.social.
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#LeraAuerbach *1973
Sonata for cello and piano (2002)
#DariaLutsenko #Cello
#VasilisaBogorodskaya #Piano#contemporarymusic
#womencomposers #musik #music #musique #musica #Auerbach -
#LeraAuerbach *1973
Sonata for cello and piano (2002)
#DariaLutsenko #Cello
#VasilisaBogorodskaya #Piano#contemporarymusic
#womencomposers #musik #music #musique #musica #Auerbach -
#LeraAuerbach *1973
Sonata for cello and piano (2002)
#DariaLutsenko #Cello
#VasilisaBogorodskaya #Piano#contemporarymusic
#womencomposers #musik #music #musique #musica #Auerbach -
#LeraAuerbach *1973
Sonata for cello and piano (2002)
#DariaLutsenko #Cello
#VasilisaBogorodskaya #Piano#contemporarymusic
#womencomposers #musik #music #musique #musica #Auerbach -
#LeraAuerbach *1973
Sonata for cello and piano (2002)
#DariaLutsenko #Cello
#VasilisaBogorodskaya #Piano#contemporarymusic
#womencomposers #musik #music #musique #musica #Auerbach -
#LeraAuerbach *1973
24 Preludes for piano (1999)
#contemporarymusic
#womencomposers #musik #music #musique #musica #Auerbach
https://www.youtube.com/watch?v=G58ELWYW5-s -
Last Saturday and Sunday (February 17 and 18) #StéphaneDenève conducted the #StLouisSymphonyOrchestra and Chorus in music by #ArvoPärt, #LeraAuerbach, Wagner, and Carl Orff (the excessively popular "Carmina Burana." Here's my #KDHX review. https://kdhx.org/articles/classical/3368-symphony-review-songs-of-love-and-death-with-den%C3%A8ve-and-the-slso
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Last Saturday and Sunday (February 17 and 18) #StéphaneDenève conducted the #StLouisSymphonyOrchestra and Chorus in music by #ArvoPärt, #LeraAuerbach, Wagner, and Carl Orff (the excessively popular "Carmina Burana." Here's my #KDHX review. https://kdhx.org/articles/classical/3368-symphony-review-songs-of-love-and-death-with-den%C3%A8ve-and-the-slso
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Inspired by the Auerbach Festival in The Hague, last week 😉 here's an attempt at "Boredom"...
https://youtu.be/Q7_-Hb4glkE .
@Curator
#violin #learningviolin #auerbach #ClassicalMusic #modernmusic #contemporarymusic #musician #leraauerbach
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"Arcanum" by Kim Kashkashian, Lera Auerbach, Dmitri Shostakovich https://songwhip.com/kim-kashkashian/arcanum
#ClassicalMusic
#WomenComposers
#KimKashkashian
#DmitriShostakovich
#LeraAuerbach -
"Hommage à J. S. B.: Works for Solo Violin" by Jonian Ilias Kadesha https://songwhip.com/jonianiliaskadesha/hommage-a-j-s-b-works-for-solo-violin
@classicalmusic
#SoloViolin
#JohannSebastianBach
#GyörgyKurtág
#LeraAuerbach
#HeinrichIgnazFranzvonBiber -
"Hommage à J. S. B.: Works for Solo Violin" by Jonian Ilias Kadesha https://songwhip.com/jonianiliaskadesha/hommage-a-j-s-b-works-for-solo-violin
@classicalmusic
#SoloViolin
#JohannSebastianBach
#GyörgyKurtág
#LeraAuerbach
#HeinrichIgnazFranzvonBiber -
"Hommage à J. S. B.: Works for Solo Violin" by Jonian Ilias Kadesha https://songwhip.com/jonianiliaskadesha/hommage-a-j-s-b-works-for-solo-violin
@classicalmusic
#SoloViolin
#JohannSebastianBach
#GyörgyKurtág
#LeraAuerbach
#HeinrichIgnazFranzvonBiber -
"Hommage à J. S. B.: Works for Solo Violin" by Jonian Ilias Kadesha https://songwhip.com/jonianiliaskadesha/hommage-a-j-s-b-works-for-solo-violin
@classicalmusic
#SoloViolin
#JohannSebastianBach
#GyörgyKurtág
#LeraAuerbach
#HeinrichIgnazFranzvonBiber -
"Hommage à J. S. B.: Works for Solo Violin" by Jonian Ilias Kadesha https://songwhip.com/jonianiliaskadesha/hommage-a-j-s-b-works-for-solo-violin
@classicalmusic
#SoloViolin
#JohannSebastianBach
#GyörgyKurtág
#LeraAuerbach
#HeinrichIgnazFranzvonBiber -
Lera Auerbach: Lost Paradise Regained
The Russian Lera Auerbach (1973) does not shy away from major challenges. And that is an understatement. Recently she made a big impression with her cycle Goetia 72: in umbra lucis, a setting of the names of 72 demons for the Netherlands Chamber Choir and Quatuor Danel. At the same time a CD appeared with 72 Angels: in splendore lucis, in which she set 72 names of angels for the same choir and the Raschèr Saxophone Quartet.
Her music often has a spiritual element. In addition to the above-mentioned full-length choral cycles she composed impressive works such as Dialogues on Stabat Mater (2005); the large-scale Requiem: Ode to Peace (2012) and the forty-minute Violin Concerto De profundis (2015).
Auerbach regularly spices up her music with electronic instruments such as the theremin and the ondes martenot. Both were developed in the 1920s and produce an otherworldly sound midway between a human voice, a singing saw and a violin. Thus making it the ideal musical representative of her often esoteric subject matter.
In 2011 Auerbach made her debut in the Friday concert series with ‘ordinary’ instruments when the Radio Chamber Orchestra played her Serenade for a Melancholic Sea for violin, piano, cello and string orchestra. In 2019 she composed Evas Klage, a joint commission from RSO Wien, Baltimore Symphony Orchestra and AVROTROS Vrijdagconcert. This will have its Dutch premiere on 28 February with the Radio Philharmonic Orchestra conducted by their brand new chief Karina Canellakis. The previous night they will present a foretaste in the series Pieces of Tomorrow.
In Evas Klage, too, the ondes martenot play a major role. A thunderous orchestral introduction is succeeded by softly wailing sounds, like the weeping of a desperate ghost. The wistfully descending and ascending lines of the ondes martenot run like a thread through the piece. You automatically associate this with the voice of Eva, who is lamenting her fate. Regularly the orchestra tries to silence the fragile whimpering with ferocious outbursts of brass and percussion.
The sometimes violent atmosphere is explained by the subtitle: O Blumen, die niemals blühen werden. Auerbach quotes this verse from Paradise Lost by John Milton in German, because the first performance took place in Vienna. For the composer, this sentence symbolises the oppression of women throughout the centuries. Rarely, if ever, did they have the opportunity to develop their talents: their voices were stifled.
In Evas Klage, the ondes martenot – Eve’s voice – is continuously in danger of going under. But towards the end her singing ascends to heaven, leaving the orchestra behind on earth. Yet there is not only doom and gloom, for Auerbach weaves fragments of early music through her score. Both reference Henry Purcell.
Quite in the beginning we hear a quotation of his witty song What Can We Poor Females Do? To which an answer comes in the form of the well-known Music for a While. The message: the ladies may enjoy themselves with music. – Be it only as a momentary diversion.
The ethereal finale leaves no doubt that this Eve won’t be bullied into making ‘music for a while’. She brilliantly overcomes all obstacles, as is powerfully illustrated by a constantly rising melodic line at the end. ‘Perhaps the answer is to rise, to stay above, to remain above it all’ writes Auerbach. Thus we may keep a glimpse of the lost paradise, ‘as the inner light of childhood when the world was still undefined and everything was possible’.
Eve frees herself from her subordinate place ‘in umbra lucis’ – in the shadow of light, and self-confidently chooses a place ‘in splendore lucis’ – in bright light. In doing so she turns her lost paradise into a paradise regained.
The reviews of the world premiere in Vienna in October 2019 were unanimously laudatory. ‘The piece has a motivic richness that is both intellectually and sensually accessible’, opined the Wiener Zeitung. I wholeheartedly agree. – Hope to see you at the concert!
#AVROTROSVrijdagconcert #JohnMilton #KarinaCanellakis #LeraAuerbach #ParadiseLost #PiecesOfTomorrow #RadioFilharmonischOrkest
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‘We know exactly what the right decision is, but often choose against our intuition’ – Lera Auerbach sets 72 demons to music
Lera Auerbach (photo F. Reinhold)
In 2016, the Russian-American Lera Auerbach (1973) stunned both audience and press with her full-length cycle 72 Angels for choir and saxophone quartet. Three years later she composed a sequel, Goetia 72, dedicated to as many demons. This time the choir is accompanied by a string quartet.
The piece was premiered in Berlin in May 2019, by RIAS Chamber Choir and Michelangelo String Quartet. On 30 January co-commissioner Netherlands Kamerkoor and Quatuor Danèl will perform Goetia 72 in the Amsterdam Muziekgebouw under the baton of Peter Dijkstra. The concert forms part of the second edition of the String Quartet Biennale Amsterdam, and will then tour through Holland.
Auerbach definitely has guts. You must both be ‘a little crazy and have a touch of genius’ to write an evening-long choral work on a text limited to a list of 72 names of angels’, as a reviewer wrote after the world premiere in 2016. Perhaps you have to be even crazier to devote a cycle to as many demons, but Auerbach has unprecedented determination.
No light without shadow
‘I made the first sketches for 72 Angels more than twenty years ago, but no conductor wanted to perform the cycle’, she says. ‘Therefore it seemed even more unrealistic to create a piece about 72 demons, but one cannot have light without shadow, shadows are caused by light.’ Auerbach here refers to the subtitles of her two compositions. The angels bathe ‘in splendore lucis’ (in bright light), the demons dwell ‘in umbra lucis’ (the shadow of light).
For her first cycle she picked the names of the angels from the Bible book of Exodus, this time she consulted the Ars u Goetia. This is the first part of The Key of Solomon, an anonymous collection of magical practices written in the 17th century. It mentions the names of the 72 demons that King Solomon is said to have locked in a sealed vessel. ‘That book was only the departure point for the sourcing of the names’, Auerbach stresses. ‘I have consulted countless other sources, for each name has multiple variants in different esoteric texts. I researched all that I found available.’
Pagan deities neither ‘evil’ nor ‘good’
She discovered that many names originated from pagan deities. ‘They weren’t just good or bad, they were passionate, jealous creatures not much different from humans. – Or angels. Initially, the two concepts were used interchangeably. It was only with the rise of Christianity and other monotheistic religions that the pagan gods were labelled ‘evil’. From then on, the word ‘angel’ was used for spiritual beings who served the god of Abraham; the name ‘demon’ became associated with the other spirits and the fallen angels.’
Auerbach leaves it open how Solomon himself viewed the demons: ‘No one can know that. He dominated them with the help of a magic ring he had received from the archangel Michael; thus they helped him to build the temple of Jerusalem. Personally, I think that Solomon considered angels and demons simply as energies, vibrations, wavelengths that he could connect. – Perhaps the djinns from Islamic folklore are a better analogy with our time, because they are not intrinsically good or bad either.’
In essence, the three monotheistic religions have the same roots, says Auerbach. ‘Judaism, Christianity and Islam are connected from within. That is why it is ironic that in the course of history so much blood has been shed “in the name of God”. And just as light cannot do without shadow and vice versa, angels and demons are two sides of the same coin. In essence, they are the same, just as in the Ancient Greeks’ view: they are not opposites but messengers, communicators, representations of energies.’
Demons disturb our moral compass
Nevertheless Auerbach does discern a difference: ‘Angels are more distant, demons are closer to us, tempting and seducing us. They toy with our idealism, our desires. They play on the strings of our human emotions, which is why I chose a string quartet in Goetia 72. The four strings act as a partner to the choir and as guide in this journey through 72 spirits. In modern terms you could say that demons are a human “creation”. They represent and nourish our fears, paranoia, lust for power, phobias, herd-mentality, possessiveness and greed.’
‘They love noise and loudspeakers, because in silence it is easier to hear the quiet inner voice of our moral compass – somewhere in our hearts the voice of an angel always sounds. We know exactly what the right decision is, but we often choose a different one, against our intuition. Demons play on our vanity and desires: they seduce us to long for more possessions, more fame, more power, more beauty, more righteousness.’
‘They are us, like a mirror: ‘A mirror that reflects and amplifies our passions the very moment they take possession of us. And angels? They are the names of God, the army of God, the warriors, the righteous ones. Precisely for this reason they may fall, for righteousness leads to arrogance and vanity, hence fallen angels – demons. “Vanity, absolutely my favourite sin”, says the Devil in The Devil’s Advocate.
Psalm as talisman
Unlike in 72 Angels, Goetia 72 does not consist exclusively of an enumeration of names, the composition is larded with verses from Psalm 90 (91). ‘This psalm has a history of being used as a talisman, it was traditionally recited when working with demons. I made a setting in ancient Greek and place those verses at three structural points, each after 24 names. This reinforces their protective intention. By the way, this arrangement was not even my intention, the piece itself asked for it, it has grown organically this way.’
In 2016 the composer described 72 Angels as ‘a long, intense prayer, full of passion and hope’. How does she see Goetia 72? ‘It is a kind of ritual, going back to pre-Christian times, before the rise of monotheism. A ritual in which we face ourselves.’ She plays with the fatal temptation that emanates from demons: ‘I give them what they want, not what they need. Then I show them the outcome of their desires. – And then I take everything away from them.’
Auerbach is not only a composer, conductor, pianist and writer, but also a visual artist and sculptor. Do these capacities help her shape her music? ‘Yes. For instance, I have an audio-visual installation called Trapped Angel that could be presented together with 72 Angels and Goetia.’
‘There is also a large immersive installation I would like to create with 72 Angels, and I am in the process of developing various visual art works related to both cycles. Being a conductor allows me to shape performances as close as possible to my vision for interpreting this diptych. Conducting also helps me to gain deeper understanding of the performers and audience perspectives.’
She doesn’t have a favourite demon: ‘I wouldn’t dare. Otherwise the other demons would get jealous.’
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Holländer im Abgeordentenhaus: ‘Frauen wollen überwältigt werden’
Am 15. März stimmte ein beträchtlicher Teil der Holländer für Thierry Baudet, das Äquivalent von Grab ‘m by the pussy. Baudet meint: ‘Frauen wollen überwältigt werden’, trotzdem gewann er im Wahlkampf 2 Plätze im Abgeordnetenhaus. – Ein schwarzer Tag für die Emanzipation.
Darum in diesem ‘Frauenmonat’ heute die Wiederveröffentlichung einer Kolumne die ich 2010 schrieb für Christel Nies. Sie leitet seit 1990 die Konzertreihe Komponistinnen und Ihr Werk in Kassel. Leider ist der Kampf um die Anerkennung von weiblichen Schöpfer immer noch aktuell. Vielleicht sogar aktueller denn je.
“Die von den Frauen”
Erfahrungen der niederländischen Musikjournalistin Thea Derks im Kampf für die Musik von Frauen. Erschienen in Christel Nies: ‘Entdeckt und aufgeführt’, 2010.
Ich wuchs auf in einem Dorf in der Nähe von Venlo, wo es ein reges Musikleben gab. Mein Vater spielte Tuba im lokalen Bläserkorps, und ich war begeistert von den schönen Klängen die er aus seinem Instrument hervorzauberte: das wollte ich auch!
Papa lehrte mich die Tuba blasen und Noten lesen: ‘do, re, mi’ und ‘fa, so, la’. Als ich gut genug war, um dem Musikverein beizutreten, gab es plötzlich ein Problem: Ich war ein Mädchen, und nach einem ungeschriebenen Gesetz waren weibliche Mitglieder im Verein nicht zugelassen – obwohl er sich doch mit dem Namen ‘Sub Matris Tutela’ (Unter Mutters Schutz) schmückte .
Als ich später Musikwissenschaft studierte, sprachen die Professoren von Leoninus und Perotinus, von Bach und Händel, von Mozart und Beethoven, von Stravinsky und Bartók. Wenn ich danach fragte, ob es unter den Komponisten keine Frauen gäbe, lächelten sie mitleidig und betonten, an der Uni beschäftige man sich nur mit seriösen Sachen. Auch in den Konzerten, die ich besuchte, hörte ich fast ausschließlich Musik von Männern – nur in der Neue Musik-Szene gab es ab und zu Werke von Ustwolskaja und Gubaidulina, von Saariaho und Chin.
Nach meinem Studium bekam ich einen Job bei Radio 4, dem holländischen Sender für klassische Musik. Ich produzierte viele Themenprogramme, u.a. eine Reihe über Komponistinnen. – Alsbald nannte man mich ‘Die van de vrouwen’ (‘Die von den Frauen’).
Dachte ich anfangs man vernachlässige die Komponistinnen einfach aus Versehen, so wurde mir im Laufe der Zeit klar, dass es gegenüber dem Schaffen von Frauen tief gewurzelten Vorurteile gibt. Wenn ein junger Komponist ein mieses Stück schreibt, heißt es, er sei noch jung und könne sich weiter entwickeln. Eine junge Komponistin hingegen bekommt selten eine zweite Chance.
Wie unausrottbar diese Vorurteile sind, wurde mir peinlich bewusst, als ich mich für eine Aufführung der Oper The Wreckers von Ethel Smyth einsetzte. Jeder, dem ich die Oper vorspielte, war begeistert von der schönen und kraftvollen Musik, aber alle meinten, Smyth hätte sich zu stark von Brittens Peter Grimes beeinflussen lassen.
Als ich darauf hinwies, dass Britten noch gar nicht geboren war als Smyth ihr Werk 1906 komponierte, verstummten meine Gesprächspartner erstaunt. – Die Oper aber wurde nicht aufgeführt. Obwohl man oftmals eine wiedergefundene, aber zweitrangige Komposition eines Mannes ankündigt als ‘Entdeckung des Jahrhunderts’.
Auch während des jährlichen Festivals niederländischer Musik wurden kaum Kompositionen von Frauen aufgeführt, weshalb ich diese Veranstaltung immer als die ‘Niederländischen Männertage’ bezeichnet habe. Geholfen hat es wenig, aber mangels Erfolg werden diese ‘Männertage’ seit 2010 nicht mehr veranstaltet.
Sogar der nach der Komponistin Henriette Bosmans benannte Wettbewerb für junge Talente wurde bisher noch nie von einer Frau gewonnen. Nachdem ich dies in einer Kolumne bemängelt hatte, wurden wenigstens einige Frauen in die Jury aufgenommen. Aber erst als später auch ein Publikumspreis eingeführt wurde, gewann endlich mal eine Komponistin: Claudia Rumondor. Glücklicherweise scheinen die Zuhörer weniger Vorbehalte zu haben als die Profis!
Es stimmt traurig, dass man auch im 21en Jahrhundert noch für die Musik von Komponistinnen kämpfen muss. Sogar weibliche Veranstalter programmieren sehr selten Werke von Frauen, und das, obwohl ich sie seit Jahren regelrecht ‘bombardiere’ mit Tipps und Aufnahmen. Zuweilen geschieht dann doch etwas, und so gibt es einige wenige Lichtblicke.
Hatte es das Festival Alte Musik Utrecht 2009 noch versäumt, auch nur ein einziges Stück von Fanny Mendelssohn zu präsentieren im Rahmen eines Konzertes das dem Umfeld Felix Mendelssohn gewidmet war, so bringt das Festival im Jahr 2010 nach meinen Protesten Musik von Elisabeth Jacquet de la Guerre zu Gehör.
Außerdem widmet die wöchentliche Konzertreihe ‘Vrijdag van Vredenburg’ von Radio 4 in der Saison 2010-11 gleich vier russischen Komponistinnen eine Reihe: Victoria Borisova-Ollas, Elena Kats-Chernin, Lera Auerbach und Sofia Gubaidulina. Neben einem Stück der jeweiligen Komponistin finden sich auch Werke von Komponisten.
Kleine Erfolge, welche ‘Die von den Frauen’ auch weiter zu erkämpfen erhofft.
#ChristelNiew #ElenaKatsChernin #ElisabethJacquetDeLaGuerre #FannyMendelssohn #LeraAuerbach #SofiaGubaidulina #VictoriaBorisovaOllas
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Composer Lera Auerbach on 72 Angels: ‘The sounds decide’
On 3 November 2016 the Netherlands Chamber Choir and Raschèr Saxophone Quartet will première Lera Auerbach’s latest work: 72 Angels, in splendore lucis in Muziekgebouw aan ‘t IJ Amsterdam.
Auerbach won numerous awards and has made a name for herself with large-scale works. An early success was her ballet The Little Mermaid, which she created with the choreographer John Neubauer for the Royal Danish Ballet in 2005.
Since the Russian-American Lera Auerbach (Chelyabinsk, 1973) made her debut in Carnegie Hall in 2002, her career has soared. She played her own Suite for piano, violin and orchestra with Gidon Kremer and his Kremerata Baltica, and performed in prestigious halls in both East and West.
She wrote many concertos and other orchestral works, composed two opera’s, three requiems, and was highly lauded for the oratorio Praise of Peace that she wrote for the Verbier Festival in 2013. Her music has a transcendental quality that speaks to the heart.
She based her expansive cycle 72 Angels, in splendire lucis on the Hebrew names of the angels, as derived from the book of Exodus. This composition is very important to her, and she has been reluctant to talk about it in public. For this one occasion she agreed to make an exception:
Nederlands Kamerkoor (c) SchreursComposer in the shadow
‘In general, I am avoiding giving interviews. I feel that a composer needs to remain in the shadows in order not to betray his or her work. This is especially important with 72 Angels, given its unusual nature. I would appreciate for you to mention this, since I have declined all other interviews about this work. I am making an exception in your case because of our connection from the past and because I felt that your questions were not intrusive in an unwelcoming way.’*
When and why did you decide to write a work on 72 angels?
The concept for this work preoccupied me for over twenty years. I envisioned it as a choral piece from the start but decided to include a saxophone quartet after my first collaboration with the Raschèr Saxophone Quartet. They premièred my Gallows Songs in 2013 together with the women of the WDR Radio Choir.
I feel the sound of the saxophone is limitless in colour and expression. It can roar like a wild animal and sound like a shofar. Four of them together may evoke the sound of powerful trumpets, delicate woodwinds or even of a mystical glass harmonica.
How have you shaped your composition?
In essence, 72 Angels is a long, intense prayer, full of passion and hope. It is structured in the form of 72 prelude-evocations and an epilogue: ‘Amen’. There is no text other than the names of the angels, which I derived through an arcane interpretation of Exodus 14:19-21. Each prelude is a meditation on one name. Every angel is different and has his own personality both spiritually and musically.
The 72 preludes are interconnected, and performed without pauses, creating a whole continuous composition of some 80 minutes, rather than 72 separate short pieces. Structurally, the work divides into two parts at Prelude 36 and in three sections at preludes 24 and 48, representing unity and division: Two in One (Duality) and Three in One (Trinity.) At these demarcation points, all of the previously introduced names of angels are recited.
The piece concludes with ‘Amen’, a quiet postlude-meditation. It is the coda of the work and is built upon the overtone series, which is the origin of all sound.
Raschèr Saxophone QuartetHow do the saxophone quartet and the choir interact?
Sometimes the quartet leads the choir, at other times it blends and supports it, or is in dialogue with the voices. The interaction between the four players themselves is comparable to that in a string quartet. The sounds decide what happens musically, I just follow.
In your score you write that ‘a saxophone quartet can ignite the fire while transcending its burn.’ How are we to understand this?
Worthwhile art, be it music or literature or painting, leaves burning marks in our memory. It cannot be forgotten, it ignites passion, reaches the deepest roots and helps to transcend limitations. A saxophone quartet, with its wide range of colour and dynamics, is capable of inspiring this.
Are all angels good spirits in your view? Or are there also dark angels, fiery angels, perhaps even frightening ones?
As with my Requiem – Ode to Peace, the intent for 72 Angels is to focus on that which is shared among different cultures in their religious, spiritual, esoteric and mythological traditions. I wish to put emphasis on that which unites us through shared connections. These 72 evocations celebrate all angels in all their multi-faceted variations.
Of course anything in excess becomes its opposite. Shadows are caused by light. I am a writer, I believe in the power of words. Since I am also a composer, I believe in the power of words as sounds, in the power of music. Music can bypass consciousness and the limitations of the language, it can move us through emotion and emphasise that which makes us human.
Is your new work closer to Requiem – Ode to Peace or to Gallows Songs?
There is no similar work in my catalogue. It connects to the Requiem – Ode to Peace as both works stress unity among different belief systems. It connects to the Gallows Songs as it is for a choir and saxophone quartet. In all other ways, it is entirely different from them as well as from all other compositions I have written.
My wish is for each listener and performer to embrace his or her personal interpretation of 72 Angels.
* We discussed her development and music extensively for Radio 4, the Dutch classical radio station in 2011. The Dutch Radio Chamber Philharmonic Orchestra performed her Serenade for a Melancholic Sea.
72 Angels, in splendore lucis; Dutch Chamber Choir and Raschèr Saxophone Quartet under the baton of Peter Dijkstra. In 2020 it was released on cd.
With Lera Auerbach after world première 72 Angels in Muziekgebouw aan ‘t IJ, 3 November 2016#72Angels #LeraAuerbach #MuziekgebouwAanTIJ #NederlandsKamerkoor #RaschèrSaxophoneQuartet #TheaDerks
