Etude op. 40 on the 'Magic Musical Quadrant' 練習曲 鋼琴獨奏

"1956 年，維什涅格拉德斯基最終確定了他關於具有規範內部結構的迴圈調性空間的理論。作品 40 是嚴格遵守這一體系的首部作品。它以神奇象限的概念為基礎，在羅馬地下墓穴中曾發現過這樣的例子。 SATORAREPOTENETOPERAROTAST從左到右或從上到下讀都會出現相同的詞。維什內格拉德斯基用小節代替字母（本例中為六個），小節的結尾又回到開頭，作為教規，構成了神奇象限的結構。這種形式在即興發揮元素和嚴格遵守結構之間交替進行。如果真有音樂立體主義，那這就是......。"（戈特弗裡德-埃伯勒）

作曲家: Wyschnegradsky, Ivan
樂器: piano
出版社: M.P. Belaieff Musikverlag
原文簡介:
“1956 was the year in which Vishnegradski finally defined his theory of cyclical tonal spaces with a regulated internal structure. Op. 40 is the first composition which adheres strictly to this system. It is based on the idea of the magical quadrant, examples of which have been found in Roman catacombs. SATORAREPOTENETOPERAROTASThe same words appear when one reads from left to right or from top to bottom. Vishnegradski substitutes bars for the letters (six in this case), which end by returning to the beginning, and, as canons, constitute the structure of the magical quadrant. The form alternates between improvisational play with the elements and strict adherence to the structure. If there is such a thing as musical cubism, then this is it . . . “ (Gottfried Eberle)