Scholarship & Research
A searchable register of dissertations, treatises, doctoral documents, articles, and academic studies on Lera Auerbach’s music.
Scholarship Records
Вяч. П. Океанский
Луна и дева: лунарная мистерия в лирике Лены Авербах: эзотерическая герменевтика прощания с детством
Russian-language literary scholarship on Auerbach’s poetry, including “Шелестящее стихотворение,” “Диалог со временем,” “Сороколуние,” and early poems from 1990–1993. Editorial note: the article title appears online as “Лены Авербах”; the body of the article discusses Лера Авербах.
М. Л. Зайцева / А. А. Рязанцева
Синестезийные основы художественного мышления Леры Ауэрбах: на примере Сонаты для скрипки и фортепиано “11 сентября” 2001 г.
A Russian scholarly collected article on the synesthetic foundations of Auerbach’s artistic thinking, using the 2001 Sonata for Violin and Piano “September 11” as the central example.
М. Л. Зайцева
Проявление нарративных свойств в камерно-инструментальном творчестве Леры Ауэрбах
A Russian/English proceedings item analyzing the narrative properties of Auerbach’s chamber-instrumental writing, with specific attention to the September 11 Sonata and its relationship to the composer’s poem of the same title.
Н. И. Верба
Интерпретация “Русалочки” Г. Х. Андерсена в балете Леры Ауэрбах и Джона Ноймайера: новое звучание и вечные смыслы старого сюжета
A Russian-language scholarly article on Auerbach and Neumeier’s ballet after Hans Christian Andersen, treating the new musical and choreographic life of the fairy-tale source and its continuing symbolic meanings.
Ю. Г. Мирлас / Е. Р. Гашкова
Лера Ауэрбах — современный человек эпохи Возрождения. Исполнительская характеристика двух фортепианных прелюдий из цикла 24 прелюдии для фортепиано, op. 41
A Russian-language performance-oriented and pedagogical article from Chelyabinsk/South Ural scholarly context, focused on two preludes from Auerbach’s Op. 41 and addressed to teachers and students in secondary and higher professional music institutions.
Alice Birch
Sonic Terror: Music, Murder, and Migration in the USSR
A contextual dissertation on music, violence, migration, and Soviet/post-Soviet memory. Its contemporary chapter treats Lera Auerbach alongside Sofia Gubaidulina and Yuri Khanon, with attention to Ballet for a Lonely Violinist and T’filah as works connected to diaspora, trauma, memorial sound, and political haunting.
Brianna G. Tang
Final Doctoral Recital
A Stony Brook Academic Commons doctoral-recital record listed as a dissertation for the Doctor of Musical Arts. The record keywords include piano, Cécile Chaminade, Lera Auerbach, and Robert Schumann, with the recital program supplied as an additional document.
Cameron Fuhrman
“Dreaming Aloud”: Lera Auerbach’s Ten Dreams (1999) for Solo Piano
A verified performance-listing lead for a DMA lecture recital given at Eastman on May 13, 2017. Added as a lead only; a university repository record or doctoral document should still be located before treating it as a final dissertation record.
Chia-Yi Chen / Chengcheng Ma
Technical Challenges as Interpretative Guides in Lera Auerbach’s 24 Preludes for Violin and Piano, Op. 46
A verified listing on Chengcheng Ma’s CV for a February 27, 2026 Boston University lecture recital, “Deciphering the Modern Violin Repertoire.” Added as a lead only until a university archive record or written document is located.
Youngjin Kim
DMA Lecture-Recital on Lera Auerbach’s 24 Preludes for Piano
A verified biography lead states that Kim’s recent DMA lecture-recital focused on Auerbach’s 24 Preludes for Piano as a descendant of the 24-prelude tradition, reimagined through contemporary musical language. Added as a lead only pending a university archive record.
Elena Nezhdanova
Insight Into Selected Preludes from Lera Auerbach’s 24 Preludes for Solo Piano, Op. 41
A verified Music by Women Festival 2023 conference listing for a lecture-recital on selected preludes from Auerbach’s Op. 41. Added as a scholarly activity lead, distinct from Nezhdanova-Cunningham’s 2017 UNCG dissertation already listed separately.
Christiane Wiesenfeldt
Musik und Heimat
A broader scholarly monograph on music and the idea of Heimat. Included here as a contextual scholarly mention because it has been identified as containing a discussion of Auerbach’s Russian Requiem in relation to homeland, exile, memory, and Russian identity; the precise page citation should be confirmed against the book text.
Wendelin Bitzan
Lera Auerbach
A German-language scholarly reference entry in a major orchestral lexicon. Included as an institutional reference record for Auerbach’s orchestral profile and broader composer biography.
Christoph Flamm
Lera Auerbach: Sinfonie Nr. 1 »Chimera«, Hamburg: Sikorski 2011, Partitur
A separate German scholarly review of the published Sikorski score of Symphony No. 1 “Chimera,” distinct from Flamm’s later émigré-composer essay.
Wolfgang-Andreas Schultz
Bausteine einer neuen Tonalität. Zu Krzysztof Penderecki und Lera Auerbach
A German music-theoretical and aesthetic essay pairing Auerbach with Penderecki in a discussion of “new tonality” and contemporary musical language after the avant-garde.
Author to verify
Lera Auerbach: T’filah und Lonely Suite für Violine solo
A Die Tonkunst review listing for the solo-violin scores T’filah and Lonely Suite. The table of contents confirms the item and page number, but the reviewer name should be verified before converting this into a final authored record.
Eli Kalman
Review: T’filah (The Prayer) by Lera Auerbach. Andrew J. Allen, alto saxophone
A recent academic performance review discussing T’filah in its saxophone adaptation, with attention to its violin origin, memorial and lament character, form, expressive rhetoric, and interpretive implications.
In Young Kim / 김인영
Exploring the Piano Solo Works of Lera Auerbach through Polystylism Perspectives
A distinct 2023 Korean journal article expanding the author’s work on Auerbach’s piano music, considering solo piano works through postmodernism and polystylism, and the interaction of traditional forms with modern language.
Astrid Kvalbein
Still Exceptional? Women in Composition Approaching the Twenty-First Century
A high-authority Cambridge chapter on the situation of contemporary women composers approaching the twenty-first century. Included here as a broader scholarly context in which Auerbach appears within contemporary composition and gender discourse.
Christoph Flamm
The Very Last of Soviet Émigré Composers: Lera Auerbach
One of the important broader musicological essays on Auerbach, framing her within the last Soviet émigré generation and discussing style, Russian/Soviet inheritance, reception, and major works including Russian Requiem.
Anne Neikirk
Lera Auerbach: Celloquy
A substantive academic CD review of Celloquy, discussing Auerbach’s cello-and-piano repertoire and its references, timbral language, extended techniques, textures, register, and narrative qualities.
Regina Back
Lera Auerbach
A German-language scholarly reference article on Auerbach, significant as an early academic lexicon source and as a bibliographic anchor for later scholarship, including dissertations and musicological writing on Auerbach.
Chenxin Wang
The Many Voices of the Violin: Lera Auerbach’s Works for Solo and Ensemble
A current University of Miami doctoral capstone project centered on Auerbach’s violin writing, including a complete recital performance of 24 Preludes for Violin and Piano and program notes on the work’s form, technique, color, and relationship to the 24-prelude tradition.
Madison Ryan
Expanding the Repertoire: A Presentation of Violin Concertos Composed by Women
A broader doctoral lecture-recital essay on violin concertos by women composers. It includes a dedicated Auerbach section on Concerto for Violin and Orchestra No. 1, its commission by the American Youth Symphony, premiere, instrumentation, and repertoire context.
John Vandevert
Lera Auerbach and her Re-invention of the Wheel
A focused analytical paper on Auerbach’s 24 Preludes for Violin and Piano, treating the work’s cyclical design, stylistic synthesis, tonal/dissonant language, and the relationship between older formal models and contemporary expressive language.
Laura Colgate
Half of Humanity Has Something to Say, Also: Works for Violin by Women Composers
A broader dissertation-recital project on violin works by women composers. It includes Auerbach’s Speak, Memory among the recital repertoire and provides biographical and program-note material for the work.
Liang Yu-Han / 梁鈺函
Lera Auerbach <24 Preludes for Violin and Piano, Op. 46>
A Taiwanese graduate performance-report record on selected analysis and interpretation of Auerbach’s 24 Preludes for Violin and Piano. The National Central Library record describes the study as engaging the prelude’s historical development and its interpretive implications for the work.
Florentine Gallwas
Lera Auerbach: Die drei Zyklen à 24 Präludien, Op. 41, 46 und 47
A German master’s thesis identified in MUGI and cited in later Auerbach scholarship. I did not locate a public full-text copy, but the bibliographic record should be included because it appears to be one of the earliest extended academic studies of Auerbach’s three 24-prelude cycles.
Minyoung Rho
Musical Borrowing and Its Meaning in Lera Auerbach's Ludwigs Alptraum and Clifton Callender's à la manière de
Examines contemporary piano works that deliberately reference earlier music and style; the Auerbach chapter studies quotation, motivic development, form, narrative, intertextuality, and polystylism in Ludwigs Alptraum.
Jeong Yun Yang
A Study of Selected Piano Works by Robert Chumbley and Lera Auerbach
A comparative doctoral treatise on selected piano works by Robert Chumbley and Lera Auerbach, with the Auerbach chapter focused on Diabellical Waltz and Piano Sonata No. 2 “Il Segno.”
Qianni Yang
Under the Pluralism Era: The Style Analysis of 24 Preludes for Piano, Op. 41 and Ten Dreams, Op. 45 by Lera Auerbach
Analyzes Auerbach’s 24 Preludes for Piano and Ten Dreams as representative piano works shaped by pluralism, traditional forms, modern language, contrasting simplicity and complexity, and motivic/emotional connections.
Inyoung Kim
Lera Auerbach’s Postmodernist Artistic Expression: The Styles of Chorale, Fugue and Postlude, Op. 31 and 24 Preludes for Piano, Op. 41
Places Auerbach’s piano writing within postmodern artistic expression, identifying polystylism as a central lens and examining both Chorale, Fugue and Postlude and 24 Preludes for Piano.
Akiko Yamazaki
Pedagogical and Performance Guide of Lera Auerbach’s Images from Childhood, Op. 52
Provides a pedagogical and performance guide to Images from Childhood, treating the twelve intermediate piano character pieces as an opportunity to introduce contemporary music, pianistic skill, and expressive artistry.
Kim, Ji Eun / 김지은
아우어바흐(Lera Auerbach)의 ≪피아노를 위한 24개의 프렐류드≫에 나타난 포스트모더니즘적 음악양식의 분석연구
A Korean doctoral thesis devoted to Auerbach’s 24 Preludes for Piano, focusing on postmodern musical style and piano analysis. Public bibliographic traces identify the work as a Yonsei University Graduate School dissertation dated 2018; a Korean performance biography states that Kim completed the dissertation and received the D.M.A. in February 2019.
Elena Victoria Nezhdanova-Cunningham
Performance Guide for 24 Preludes for Piano, Op. 41 by Lera Auerbach
A performance-oriented study of 24 Preludes for Piano that situates the cycle within the prelude tradition and addresses musical meaning, order, unity, and selected pedagogic analysis.
Tatiana Gorbunova
A Piano Sonata and 24 Preludes for Piano: Old Forms in the New Context
A two-part doctoral treatise whose first section analyzes Auerbach’s 24 Preludes for Piano, addressing the prelude tradition, harmonic language, polystylism, motivic relationships, contrasting elements, and the role of pedaling.
Meily J. Mendez
Polystylism and Motivic Connections in Lera Auerbach’s 24 Preludes for Piano, Op. 41
Analyzes the form, polystylism, and motivic links across 24 Preludes for Piano, including structural signposts, recurring motivic patterns, and unifying relationships within the cycle.
Joshua Luke Holritz
A Player’s Guide: Lera Auerbach’s 24 Preludes for Violin and Piano, Op. 46
A violinist’s guide to the Op. 46 preludes, with historical context, discussion of Auerbach’s contribution to the prelude genre, and practical attention to technical and musical decisions.
Pwyll ap Siôn
Hidden Disunities and Uncanny Resemblances: Connections and Disconnections in the Music of Lera Auerbach and Michael Nyman
A journal article examining connections and disconnections in the music of Lera Auerbach and Michael Nyman. The Auerbach discussion analyzes Sogno di Stabat Mater through questions of resemblance, quotation, intertextual dependency, and the tension between continuity and fragmentation.
Kimberly Hain
Lera Auerbach’s 24 Preludes for Violin and Piano, Op. 46: Unity and Musical Narrative
Studies Auerbach’s Op. 46 as a unified cycle through direct quotation, two half-step motivic units, and musical narrative, including an interpretation of the preludes as a human-life trajectory.
