Ivan Wyschnegradsky - Etude & 24 Préludes

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WWE 1CD 20206


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Ivan Wyschnegradsky
Etude & 24 Préludes

01

Ivan Wyschnegradsky - Etude sur les Mouvements rotatoires

06:37

02

Ivan Wyschnegradsky - Prelude I

00:53

03

Ivan Wyschnegradsky - Prelude II

03:17

04

Ivan Wyschnegradsky - Prelude III

02:22

05

Ivan Wyschnegradsky - Prelude IV

01:00

06

Ivan Wyschnegradsky - Prelude V

03:56

07

Ivan Wyschnegradsky - Prelude VI

01:45

08

Ivan Wyschnegradsky - Prelude VII

02:30

09

Ivan Wyschnegradsky - Prelude VIII

02:41

10

Ivan Wyschnegradsky - Prelude IX

03:11

11

Ivan Wyschnegradsky - Prelude X

01:21

12

Ivan Wyschnegradsky - Prelude XI

03:11

13

Ivan Wyschnegradsky - Prelude XII

01:37

14

Ivan Wyschnegradsky - Prelude XIII

02:59

15

Ivan Wyschnegradsky - Prelude XIV

02:33

16

Ivan Wyschnegradsky - Prelude XV

01:30

17

Ivan Wyschnegradsky - Prelude XVI

04:01

18

Ivan Wyschnegradsky - Prelude XVII

01:08

19

Ivan Wyschnegradsky - Prelude XVIII

01:58

20

Ivan Wyschnegradsky - Prelude XIX

01:36

21

Ivan Wyschnegradsky - Prelude XX

00:59

22

Ivan Wyschnegradsky - Prelude XXI

02:36

23

Ivan Wyschnegradsky - Prelude XXII

01:01

24

Ivan Wyschnegradsky - Prelude XXIII

01:05

25

Ivan Wyschnegradsky - Prelude XXIV

04:09

		Total Time	59:56



Digital Booklet - only with album

"I might have been a poet, a painter or a philosopher; but I decided to take up composing. What I have to say I express by music." (Wyschnegradsky) He was to continue his crossover ideas in "ultrachromatic drawings," which are always found in texts dealing with tone color. ...

Whereas Schönberg and others devoted themselves to the twelve-tone principle as their compositional basis, Wyschnegradsky tackled the very essence of tone intervals: in his theoretical writings he worked out not just whole-steps and half-steps but went as far as third, quarter, sixth or twelfth tones, to later use them in his compositions. And two pianos detuned a quarter-tone apart can, after all, even be made to produce a "meandering" glissando effect. Both compositions on this album, the Etude sur les Mouvements rotatoires (1961) and the 24 Préludes dans l’échelle chromatique diatonisée à 13 sons (1934; 1969/79), are based on the quarter-tone principle. It is interesting to note that if one listens beyond the quarter-tones, the underlying basic structures of the pieces are quite clearly reminiscent of Scriabin or even Rachmaninov. And one thing is certain: once you've started listening to quarter-tone compositions you'll become addicted immediately: you won't be able to stop, and you sure won't want to stop listening, especially to these amazingly free and electrifying interpretations by the piano duo Sylvaine Billier/Martin Joste.

1CD

Contemporary

Instrumental

Piano

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