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WWE 1CD 20206
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Ivan Wyschnegradsky
Etude & 24 Préludes
1
Etude sur les Mouvements rotatoires 06:28
2
24 Preludes dans l´echelle chromatique diatonisee a 13 sons - I 00:50
3
II 03:14
4
III 02:19
5
IV 00:56
6
V 03:52
7
VI 01:43
8
VII 02:27
9
VIII 02:38
10
IX 03:08
11
X 01:19
12
XI 03:07
13
XII 01:35
14
XIII 02:55
15
XIV 02:30
16
XV 01:28
17
XVI 03:58
18
XVII 01:05
19
XVIII 01:56
20
XIX 01:33
21
XX 00:58
22
XXI 02:33
23
XXII 00:59
24
XXIII 01:03
25
XXIV 04:08
Total Time 58:42
Ivan Wyschnegradsky, Etude op.45a_Prelude op.22 9,99 €  |  download
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
"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.
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