Etüde op. 40 (1957)

“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)