T’filah means “prayer” in Hebrew. Written in January 1996 for solo violin, the work is both intimate and exposed: a single human voice without accompaniment, suspended between lament, remembrance and supplication.

The violin line unfolds as a solitary act of witness. Its fragility is central to the piece. Nothing surrounds or protects the sound; every interval, breath and silence carries weight. In this sense, T’filah is not only a prayer spoken in music, but also a space in which memory is held, questioned and transformed.

Auerbach wrote the work as a response to the tragedy of the Holocaust. The unaccompanied violin becomes a voice of mourning and endurance, at once personal and collective. The music does not illustrate grief; it allows grief to speak.

T’filah was dedicated to Vadim Gluzman, who gave the premiere on 1 September 1996 in Stresa. Within Auerbach’s catalogue, the work stands as one of her earliest and most concentrated solo string works. Its brevity gives it the force of an invocation: direct, vulnerable and unresolved.

• Form One movement.
• Duration Approximately 6 minutes.
• Forces Solo violin.

T’filah was premiered on 1 September 1996 in Stresa by Vadim Gluzman, to whom the work is dedicated.

The earlier Sikorski catalogue lists the work as T’filah for violin solo, with a duration of 6′30″, score number SIK 8545, and a recording by Vadim Gluzman on BIS 1242.

T’filah stands among Auerbach’s earliest and most concentrated solo string works. Its compact scale and single-line medium place the performer in a space of exposed utterance, with no accompaniment and no external frame.

The work is often presented alongside Auerbach’s later solo violin works, including Lonely Suite, par.ti.ta and Speak, Memory. The Naxos album Auerbach: Works for Solo Violin, performed by Christine Bernsted, brings these works together as a focused portrait of Auerbach’s solo violin writing.

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