Sikorski
‘When I work on a new project, I undergo an extensive research stage. I absorb everything related to its context, its performers, and the program. I wanted this work to be a true homage to Pablo Casals that would celebrate his spirit and legacy. But how does one achieve this with a new piece?
I bought all books about Casals I could find, including a very special edition of Bach's suites with his personal edits and remarks. I repeatedly listened to his available recordings, read his interviews and memoirs about him.
When I began sketching this work, I did not have a clear vision for it. At that time, I was artist-in-residence in Switzerland working in a 12th-century watchtower in the town of Stein-am-Rhein. I explored the work from different perspectives: through a series of music sketches, ink drawings and mixed-media paintings that emerged through this creative process. Notes on every surface in the studio began to take shape; with the help of both pen and brush the music began to emerge.
One night it suddenly became clear what this piece wanted to be. There are two works that played a very important, almost symbolic role in Casal's life: Bach’s Cello Suites and ‘El cant dels Ocells’ (’Song of the birds’). I decided that the new piece needed to connect organically to both of them. The theme of ‘El cant dels Ocells’ forms the heart of this piece, and its development follows the spirit of Bach’s suites. I did not wish for it to be an imitation of Bach, but to stay true to our own time and my voice as a composer. It is a very delicate and dangerous balancing rope. The only other work in my catalog that follows a somewhat similar direction is ‘Dialogues on Stabat Mater’ (‘Sogno di Stabat Mater’), which Gidon Kremer recorded with the Kremerata Baltica.
Once I let my subconscious take control of the process, the work organically formed itself into the shape of a suite for solo cello, La Suite dels Ocells. The paintings, too, took on a life of their own and became part of a large solo art exhibition in Switzerland, titled ‘Music on Canvas.’ There is much joy in this work and the discovery process that created it.’ (Lera Auerbach)