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Ivan Vïshnegradsky

Ivan Vïshnegradsky was created the son of the St. Petersburg banker and musical aficionado. As students at the School of St. Petersburg, Vïshnegradsky moved out of laws and philosophy research to sign up in the music section. Vïshnegradsky examined with trainer Nikolai Sokolov, who presented Vïshnegradsky to the task of Alexander Scriabin. Soon after, Vïshnegradsky empty the Germanic, post-Romantic idiom familiar to him and implemented the exemplory case of his Russian forbearer. Vïshnegradsky’s earliest known function, the cantata La journée de l’existence (1916 – 1917, rev. 1927, 1939) betrays the impact of Scriabin impact very strongly, specifically in the substantial five-octave chord cluster that ends the task. Before the structure of La journée, Vïshnegradsky experienced a adobe flash of what he known as “cosmic awareness,” leading him onto a lifelong analysis of microtonal assets as a way of earning tactile mystical, unseen common makes. In 1918 Vïshnegradsky tuned both pianos in his house a quartertone aside and positioned them in a “L” form therefore he could play them both. The usage of re-tuned multiple pianos as a way of playing in microtones became a typical for Vïshnegradsky; occasionally he adds performers to be able to give lyric settings, frequently chosen from the task of his philosophical idol, Friedrich Nietzsche. In 1922, Vïshnegradsky recognized the problem in Russia was as well volatile for him, therefore he emigrated to Paris, where he’d live the others of his existence. Vïshnegradsky made many attempts to possess microtonal instruments built-in the 1920s. Vïshnegradsky’s jv with Pleyel to create a quartertone piano didn’t result in a musical instrument, as do another with composer Alois Hába. In 1924, Vïshnegradsky experienced a quartertone harmonium constructed, and lastly in 1929 piano manufacturer Adolf Förster built a three-manual quartertone piano for him. Vïshnegradsky’s attempts to rating microtonal music for strings in the first 1920s resulted in unhappy outcomes, as the string players cannot adapt to the unique notational numbers Vïshnegradsky devised for his ratings. From that point, Vïshnegradsky was pursued of his idea of “ultra-chromaticism” and created microtonal scales comprising up to 72 records. As his musical theory was inextricably destined up with new-agey religious and cosmic suggestions, few required Vïshnegradsky’s investigations in microtonality significantly, and he discovered it difficult to acquire publishers ready to deal with his treatises. It wasn’t until 1937 in the Salle Chopin-Pleyel that Vïshnegradsky could mount a thorough concert of his functions. The idea of Vïshnegradsky like a specialist of musical quackery was verified for most during World Battle II, when the composer experienced a complete anxious break down and was put into a sanatorium. One musician who do take Vïshnegradsky significantly was French composer Olivier Messiaen. Upon Vïshnegradsky’s discharge through the sanatorium in 1950, Messiaen prompted the old composer to function anew, and Vïshnegradsky complied with several works merging the microtonal pianos with an electric gadget, the Ondes Martenot, a musical instrument performed expertly by Messiaen’s wife, Yvonne Loriod. In 1959, Vïshnegradsky constructed an orchestral symphony in quartertones. In 1960, a big choral work implemented L’eternel etranger for four pianos, percussion, soloists, and blended choir. Vïshnegradsky was generally inactive in the ultimate 2 decades of his lifestyle, yet close to the end from it he was re-discovered. In 1978, the globe premiere of his initial function, La journée de l’existence, happened, and Vïshnegradsky was asked to lecture together with this event. He also was honored his first in support of, public commission to get a String Trio, Op. 53, and finished just times before his loss of life at age 84.

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