Etude op. 40 on the 'Magic Musical Quadrant' 练习曲 钢琴独奏

"1956 年，维什涅格拉德斯基最终确定了他关于具有规范内部结构的循环调性空间的理论。作品 40 是严格遵守这一体系的首部作品。它以神奇象限的概念为基础，在罗马地下墓穴中曾发现过这样的例子。 SATORAREPOTENETOPERAROTAST从左到右或从上到下读都会出现相同的词。维什内格拉德斯基用小节代替字母（本例中为六个），小节的结尾又回到开头，作为教规，构成了神奇象限的结构。这种形式在即兴发挥元素和严格遵守结构之间交替进行。如果真有音乐立体主义，那这就是......。"（戈特弗里德-埃伯勒）

作曲家: Wyschnegradsky, Ivan
乐器: piano
出版社: M.P. Belaieff Musikverlag
原文简介:
“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)