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Ivan Wyschnegradsky

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Not to be confused with the politician and scientist Ivan Vyshnegradsky.
Wyschnegradsky in Paris, c. 1930

Ivan Alexandrovich Wyschnegradsky[n 1] (US: /vɪʃnəˈɡrɑːdski/ vish-ne-GROD-skee; Russian: Ива́н Алекса́ндрович Вышнегра́дский May 14 [O.S. 2 May] 1893 – September 29, 1979), was a Russian composer primarily known for his microtonal compositions, including the quarter tone scale (24-tet: 50 cents) utilized in his pieces for two pianos in quarter tones. He also used scales of up to 72 divisions (mainly third (18-tet: 66.6 cents), sixth (36-tet: 33.3 cents), and twelfth tones (72-tet: 16.6 cents)). For most of his life, from 1920 onwards, Wyschnegradsky lived in Paris.[1]

Life

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Ivan Wyschnegradsky was born in Saint Petersburg on May 4, 1893. His father was a banker and his mother, Sophie, wrote poems. His grandfather was a celebrated mathematician who served as the Minister for Finance from 1888 to 1892. After his baccalaureate, Wyschnegradsky entered the School of Mathematics. He studied harmony, composition, and orchestration with Nicolas Sokolov at the Saint Petersburg Conservatory.[2] In 1912, he entered the School of Law.

In November 1916, Wyschnegradsky had a spiritual vision. It inspired the composition of La Journée de l’Existence for narrator and orchestra. Most of his later work germinated from this singular experience.[3] He completed his law studies the day before the revolution in 1917.[4] His father died that November.[5]

Wyschnegradsky moved to Paris in 1920.[2] Three years later, he married Hélène Benois, the daughter of Alexandre Benois. It was her second marriage.[6] Their son Dimitri was born in 1924. He grew up to become an influential blues historian using the pen name Jacques Demêtre.[7] Wyschnegradsky and Benois divorced in 1926. His second wife was Lucile Markov (Gayden).

In 1942, Wyschnegradsky was arrested by the Germans and transferred to Royallieu-Compiègne internment camp, where he remained for two months. As an American, Lucile was interned at Vittel. After the war, he contracted tuberculosis and lived at the sanatorium of St. Martin-du-Tertre from 1947–50.[3]

Wyschnegradsky died at the age of 86 in Paris on September 29, 1979.[2]

Music career

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Wyschnegradsky was deeply influenced by Alexander Scriabin's mysticism and approach to tonality. Seeing Mikhail Matyushin's Futurist opera Victory over the Sun in 1913 also had a profound effect on his artistic development.[8]: 36 

Wyschnegradsky's first performed work was Andante religioso and funèbre. César Cui attended the concert and congratulated Wyschnegradsky "for his moderation".[4]

In 1916, Wyschnegradsky composed The Day of the Brahma (which would later become The Day of Existence) for narrator, full orchestra and mixed chorus ad libitum. He believed in the ideals of the Russian Revolution and composed The Red Gospel, opus 8. He soon became convinced that equal temperament was inadequate for his work and began writing in microtones.[9] In 1919, he elaborated on his first project on the notation of twelfth-tones.

All of the composer's early microtonal work was executed on two pianos tuned a quarter-tone apart.[9] A primary motivation for his emigration was the desire to develop instruments capable of playing microtones.[3] Wyschnegrasky designed a quarter-tone keyboard with three manuals.[10]

Pleyel manufactured a pneumatic-transmission piano for him in 1921, but he was not entirely satisfied. He ordered a Möllendorf-type quarter-tone harmonium from Straube.[9] There was stronger potential in Berlin where he worked with Richard Stein, Alois Hába, Jörg Mager, and Willy von Möllendorff. Hába and Möllendorff were advising Grotrian-Steinweg on a quarter-tone piano. A prototype was built and even marketed in the spring of 1924. The instrument is lost, but Grotrian-Steinweg still has a portion of the keyboard mechanism in their archive. Hába realized the project with August Förster in 1928 using a keyboard based on Wyschnegradsky's design.[10][2] In 1929, one of the Förster upright quarter-tone pianos was delivered to Wyschnegradsky's apartment in Paris where he composed on it for the rest of his life.[3][11] Even with a suitable quarter-tone instrument, Wyschnegradsky still found performing his music more feasible with separately tuned piano ensembles.[9]

Though living in Paris, Wyschnegradsky's microtonal work was influential in Russia during the twenties. He maintained a correspondence with Georgy Rimsky-Korsakov who organized performances of his work on programs of microtonal music by young Soviet composers.[12] Dmitri Shostakovich often performed on these concerts.[13]

The Vandelle quartet performed the Prelude and Fugue, opus 15. He also published the Manual of Quarter-tone Harmony (1932). In 1934, he composed Twenty-four Preludes in All the Tones of the Chromatic Scale Diatonicized with Thirteen Sounds, for two pianos in quarter tones (1934).

In November 1918, Wyshnegradsky had begun working on Ainsi parlait Zarathoustra based on Friedrich Nietzsche's sketch for the novel. His original ensemble was a standard orchestra with quarter-tone clarinet, harmonium, and piano. Its finished form was for four pianos, 2 tuned to 435 Hertz and 2 tuned a quarter-tone higher. It was premiered along with several of his other works at the Salle Pleyel on January 25, 1937.[14] The concert was a success and led to friendships with fellow composers Olivier Messiaen, Henri Dutilleux, and Claude Ballif.[3] In October 1938, Wyshnegradsky directed the recording of the third movement of Zarathoustra.[15]

After the war, Wyshnegradsky organized another concert of his work at the Salle Pleyel on November 11, 1945. The performers included several of Messiaen's students such as Yvonne Loriod, Pierre Boulez and Serge Nigg.[3] In 1951, Pierre Boulez, Yvette Grimaud, Claude Helffer and Ina Marika gave a performance of the Second Symphonic Fragment, opus 24 in Paris. The Revue Musicale published a special issue on Ivan Wyschnegradsky and Nicolas Obouhow.

In 1977, Martine Joste organized a concert at Radio France. Wyshnegradsky also improvised for one of Margaret Fisher's performances in Paris that year.[16] In Canada, Bruce Mather did the same. In 1978, Alexandre Myrat, at the head of the Philharmonic Orchestra of Radio France, performed the Day of Existence. Ivan Wyschnegradsky was invited by the DAAD as composer-in-residence at Berlin. He could not go, due to ill health. Radio France commissioned a string trio by him.

Wyschnegradsky appears in Paul Auster's novel The Locked Room (1986), part of the New York Trilogy, in a fictionalized account of Auster´s meeting with the composer as a young man in Paris.[17]

Theories

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Throughout his career, Wyschnegradsky wrote theoretical articles in a variety of languages. He worked on a microtonality treatise for decades. Titled La Loi de la Pansonorité (The Law of Pansonority), it was not published in his lifetime.[3]

"Pansonority" was Wyschnegradsky's way of articulating the mystical experience he had in 1916. He realized that music represented a separation of sounds out of a continuous fabric that exists in the universe. Of this pansonority, Wyshnegradsky wrote in 1927:

"...isolated sounds do not exist...the entire musical space is filled with living sonorous matter.

This state, absolutely incomprehensible to human reason, may be clearly felt, and sentiment can perceive or "hear" this sonority through a manner of inner intuition.

But musical art operates through detached sounds, and because of this it is artificial and anti-continuous. Hence the primordial tragedy of music: the impossibility of attaining its ideal: Pan-sonority. And yet, in spite of this, the entire history of musical art is nothing but an attempt to reach the ideal.[18]: 30–1 

As evidence for pansonority, Wyschnegradsky would point to the inaccurate assignment of note names to overtones. Partials like the 11th, 13th, and 14th are raised by an entire quarter-tone to fit into equal temperament. Since these quarter-tones are naturally occurring in the harmonic series, Wyschnegradsky posits that microintervals are organic and provide a richer tone world.[18]: 20–1 

In 1932, Wyschnegradsky published a brief but methodical book on microtonality, advancing the field beyond what had been written to date by composers like Charles Ives and Alois Hába.[19] Manuel d’harmonie á quarts de ton (Manual of Quarter-Tone Harmony) systematizes microintervals, albeit with idiosyncratic names. For instance, a major third that has been lowered by a quarter-tone is called "neutral" because it is neither major nor minor. A perfect fourth that has been raised by a quarter-tone is called "major".[20]

Works

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  • ‣Third-tones
  • ○Quarter-tones
  • +31-tones
  • †Sixth-tones
  • ‡Twelfth-tones
  • §Mixed microtones
Orchestral
  • La Journée de l'existence, for recitation, orchestra & choir ad. lib. (1916–1917, revised 1927 & 1939)
  • Variations sans thème et conclusion (5), for orchestra, Op. 33 (1951–1952)○
  • Polyphonies spatiales, for piano, harmonium, Onde Martenot, percussions & string orchestra, Op. 39 (1956)○
  • L'Éternel Étranger, for voices, mixed choir, 4 pianos in quarter tones, percussions and orchestra (unfinished orchestration), Op. 50 (1940–1960)○
  • Symphonie en un mouvement, for orchestra, Op. 51b (1969)○
Vocal
  • L'automne (words by F. Nietzsche, translated to Russian), for bass-baritone & piano, Op. 1 (1917) Ed. Belaieff.
  • Le soleil décline (words by F. Nietzsche), for bass-baritone & piano, Op. 3 (1917–1918) Ed. Belaieff.
  • Le scintillement des étoiles (words by Sophie Wyschnegradsky), for soprano & piano, Op. 4 (1918)
  • L'Évangile Rouge (words by Vassili Kniaseff), cycle for voice & piano (1st version), Op. 8 (1918–1920)
  • L'Évangile Rouge, cycle for voice & 2 pianos in quarter tones (2nd version), Op. 8 (1918–1920)○
  • Chants sur Nietzsche (2), for baritone & 2 pianos in quarter tones, Op. 9 (1923)○
  • À Richard Wagner, for baritone & 2 pianos in quarter tones, Op. 26 (1934)○
  • Chants russes (2), for bass-baritone & 2 pianos in quarter tones, Op. 29 (1940–1941)○
  • Le mot, for soprano & piano, Op. 36 (1953)
Keyboard
  • Préludes (2), for piano, Op. 2 (1916) Ed. Belaieff.
  • Quatre fragments, for piano (1st version), Op. 5 (1918)
  • Prélude et fugue sur un chant de l'Évangile rouge, for quartertone piano, version for string quartet (lost), Op. 15 (1927)○
  • Prélude, for piano, Op. 38a (1956)
  • Étude sur le carré magique sonore, for piano, Op. 40 (1956) Ed. Belaieff.
  • Étude ultrachromatique, for Fokker 31-tone organ, Op. 42 (1959)+
  • Prélude et danse, for Carrillo third tones piano, Op. 48 (1966)‣
  • Deux piéces, for Carrillo twelfth tones piano, Op. 44b (1958)‡
  • Trauergesang, Epigrammen, Ein Stück, for quartertone piano, without Op. (undated, found by M. Smolka in Alois Hába's archives in 1992)○
Chamber
  • Chant douloureux et étude, for violin & piano, Op. 6 (1918)§
  • Quatre fragments, for 2 pianos in quarter tones (2nd version), Op. 5 (1918)○
  • Méditation sur deux thèmes de la Journée de l'existence, for cello & piano, Op. 7 (1918–1919)§
  • Variations sur la note Do, for 2 pianos in quarter tones, Op. 10 (1918–1920)○
  • Dithyrambe, for 2 pianos in quarter tones, Op. 12 (1923–1924, revised vers. by Bruce Mather, 1991)○
  • String Quartet #1, Op. 13 (1923–1924)○
  • Prélude et danse, for 2 pianos in quarter tones, Op. 16 (1926)○
  • Chant nocturne, for violin & 2 pianos in quarter tones, Op. 11 (1927, revised 1971)§
  • Ainsi parlait Zarathoustra, symphonie, for 4 pianos in quarter tones (sketches for orchestration in Bibliothèque Nationale, Paris), Op. 17 (1929–1930, revised 1936, Ed. L'Oiseau-Lyre)○
  • String Quartet #2, Op. 18 (1930–1931)○
  • Études de concert(2), for 2 pianos in quarter tones, Op. 19 (1931)○
  • Étude en forme de scherzo, for 2 pianos in quarter tones, Op. 20 (1931)○
  • Prélude et fugue, for 2 pianos in quarter tones, Op. 21 (1932)○
  • Pièces (2), for 2 pianos in quarter tones, without Op. (1934)○
  • Préludes dans tous les tons de l'échelle chromatique diatonisée à 13 sons (24), for 2 pianos in quarter tones, Op. 22 (1934, rev. 1960) Ed. Belaieff.○
  • Premier fragment symphonique, for 4 pianos in quarter tones, Op. 23a; for orchestra, Op. 23c (1934, orch. vers. 1967)○
  • Deuxième fragment symphonique, for 4 pianos in quarter tones, timpani & percussions, Op. 24 (1937)○
  • Poème, for 2 pianos in quarter tones, without Op. (1937)○
  • Cosmos, for 4 pianos in quarter tones, Op. 28 (1939–1940) Ed. Belaieff.○
  • String Quartet #3, Op. 38b (1945–1958)
  • Prélude et fugue, for 3 pianos in sixth tones, Op. 30 (1945)†
  • Troisième fragment symphonique, for 4 pianos in quarter tones & ad. lib. percussions, Op. 31 (1946)○
  • Fugues (2), for 2 pianos in quarter tones, Op. 32 (1951)○
  • Transparence I, for Onde Martenot & 2 pianos in quarter tones, Op. 35 (1953)○
  • Arc-en-ciel, for 6 pianos in twelfth tones, Op. 37 (1956)‡
  • Études sur les densités et les volumes, for 2 pianos in quarter tones, Op. 39b (1956)○
  • Quatrième fragment symphonique, for 4 Ondes Martenot & 4 pianos in quarter tones, Op. 38c (1956)○
  • Poème, for Carrillo sixth tones piano, Op. 44a (1958)†
  • Dialogue, for 2 pianos in quarter tones, 8 hands, without Op. (1959)○
  • Sonate en un mouvement, for viola & 2 pianos in quarter tones, Op. 34 (1945–1959)○
  • Composition en quarts de ton for string quartet Op. 43 (1960) Ed. Belaieff.○
  • Composition II, for 2 pianos in quarter tones, Op. 46b (1960)○
  • Études sur les mouvements rotatoires, for 3 pianos in sixth tones & orchestra, Op. 45b (1961)†
  • Composition I, for 3 pianos in sixth tones, Op. 46a (1961)†
  • Études sur les mouvements rotatoires, for 2 pianos in quarter tones, 8 hands, Op. 45a.; for chamber orchestra, Op. 45c (1961) Ed. Belaieff.○
  • Intégrations, for 2 pianos in quarter tones, Op. 49 (1962)○
  • Transparence II, for Onde Martenot & 2 pianos in quarter tones, Op. 47 (1962–1963)○
  • Composition, for Ondes Martenot quartet, Op. 52 (1963)○
  • Dialogue à deux, for 2 pianos in quarter tones, Op. 41 (1958–1973)○
  • Dialogue à trois, for 3 pianos in sixth tones, Op. 51 (1973–1974)†
  • Méditations (2), for 3 pianos in sixth tones, without Op. (undated)†
  • Œuvre sans titre, for 3 pianos in sixth tones & piano in quarter tones, without Op. (undated)
  • String Trio, Op. 53 (1979, unfinished, completed by Claude Ballif)○
Choral

Chœurs (2, words by A. Pomorsky), for mixed choir, 4 pianos in quarter tones & percussions, Op. 14 (1926)○

Theatrical
  • Linnite, pantomime in 1 act & 5 scenes, for 3 voices & 4 pianos in quarter tones, Op. 25 (1937)○
  • Acte chorégraphique, for bass-baritone, mixed choir, 4 pianos in quarter tones, percussions & ad. lib. instruments (viola, clarinet in C & balalaika), Op. 27 (1937–1940)○

Writings

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  • "Liberation of sound" (in Russian). Nakanune". Berlin. January 7, 1923.
  • "Раскрепощение ритма" (Liberation of rhythm). Nakanune, Berlin. March 18 & 25, 1923. 6–7, 8–9.
  • Quelques considérations sur l'emploi des quarts de ton en musique. Le monde musical, Paris, 30 juin 1927.
  • Quartertonal music, its possibilities and organic Sources, Pro Musica Quarterly, New York, 19 octobre 1927, pp 19–31.
  • Musique et Pansonorité. La revue Musicale IX, Paris, décembre 1927, pp 143.
  • Manuel d'harmonie à quarts de ton, La Sirène Musical, Paris, 1932, republished by Ed. Max Eschig, Paris, 1980. English translation with audio realizations published by Underwolf Editions, New York, 2017. ISBN 978-0-692-88374-7.
  • Etude sur l'harmonie par quartes superposées. Le Ménestrel 12 juin 1935, p 125 et 19 juin 1935, p 133.
  • La musique à quarts de ton et sa réalisation pratique. La Revue Musicale 171, 1937.
  • L'énigme de la musique moderne. La Revue d'esthétique, Janvier-mars 1949, pp 67–85 et avril-juin 1949, pp 181–205.
  • Préface à un traité d'harmonie par quartes superposées. Polyphonie 3,1949, p 56.
  • Problèmes d'ultrachromatisme. Polyphonie 9–10, 1954, pp 129–142.
  • Les Pianos de J. Carrillo. Guide du concert et du disque, Paris, 19 janvier 1959.
  • Continuum électronique et suppression de l'interprète. Cahiers d'études de Radio Télévision, Paris, Avril 1958, pp 43–53.
  • L'ultrachromatisme et les espaces non octaviants, La Revue Musicale # 290–291, pp. 71–141, Ed. Richard-Masse, Paris, 1972.
  • La Loi de la Pansonorité (Manuscript, 1953), Ed. Contrechamps, Geneva, 1996. Preface by Pascal Criton, edited by Franck Jedrzejewski [fr]. ISBN 2-940068-09-7.
  • Une philosophie dialectique de l'art musical (Manuscript, 1936), Ed. L'Harmattan, Paris, 2005, edited by Franck Jedrzejewski. ISBN 2-7475-8578-6.

Recordings

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Concert Etude Nos. 1 & 2, op. 19; Fugue Nos. 1 & 2, op. 33; Integration Nos. 1 &2, op. 49.
  • Ivan Wyschnegradsky. Vierteltonmusik. Editions Block, Berlin, 2 LP, EB 107/108. 1983.
Nr. 14,16,17,18,19 Aus 24 Préludes Dans Tous Les Tons De L'Échelle Chromatique Diatonisée À 13 Sons, op. 22; Prélude Et Étude, op. 48; Étude Sur Les Mouvements Rotatoires, op. 45; Méditation Sur 2 Thèmes De La Journée De L'Existence, op. 7; Étude Sur Le Carré Magique Sonore, op. 40; Prélude Et Fugue, op. 21; Troisième Fragment Symphonique, op. 32; Interview with composer.
Dialogue à trois op. 51; Composition op. 46, no. 1; Prélude et Fugue, op. 30.
String Quartet # 1–3, op. 13, 18, 38bis; Composition for String Quartet, op. 43; Trio for strings, op. 53.
Meditation On Two Themes From The Day Of Existence, Op. 7, transcribed for bassoon and piano by Johnny Reinhard.
Transparencies I & II; 3 Compositions en quarts de ton; Cosmos.
Chant Douloureux Für Violine Und Klavier, op. 6; Chant Nocturne Für Violine Und 2 Klaviere Im Vierteltonabstand
Ainsi Parlait Zarathoustra, op. 17.
Etudes Sur les Mouvements Rotatoires, op. 45c' Sonate, op. 34; Dialogue; Etudes sur les Densités et les Volumes, op. 39bis; Deux Chants sur Nietzsche, op. 9; Dithyrambe, op. 12.
Etude Ultrachromatique pour l'orgue tricesimoprimal, op.42
  • Ivan Wyschnegradsky/Bruce Mather. L'Evangile rouge (The Red Gospel). Société Nouvelle d'Enregistrement, SNE-647-CD. 1999.
L'Evangile Rouge, op. 8; Deux Chants sur Nietzsche, op. 9; Deux Chants Russes, op. 29; À Richard Wagner, op. 26
Etude Sur Les Mouvements Rotatoires, op. 45a; 24 Préludes Dans L'Échelle Chromatique Diatonisée À 13 Sons, op. 22
Preludes In Quarter-Tone System (excerpts); Etude Sur Le "Carré Magique Sonore", op. 40
Deux Préludes Pour Piano, op. 2; Etude Sur Le Carré Magique Sonore, op. 40
4e Fragment Symphonique Op.38c Pour Ondes Martenot Et 4 Pianos; Ainsi Parlait Zarathoustra, op.17; Méditation Sur Deux Thèmes De La Journée De L'Existence, op.7

Sources

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Notes

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  1. ^ Russian: Ива́н Алекса́ндрович Вышнегра́дский; Is also transliterated as Vïshnegradsky, Wyshnegradsky, Wischnegradsky, Vishnegradsky, or Wishnegradsky (after he emigrated to France, he used "Wyschnegradsky" as spelling for his surname).

References

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  1. ^ "Ivan Wyschnegradsky Archived December 10, 2013, at the Wayback Machine", Voix Nouvelles [New Voices]. (in French)
  2. ^ a b c d Criton, Pascale. "Vyschnegradsky [Vïshnegradsky], Ivan." Grove Music Online. Oxford University Press, 2001.
  3. ^ a b c d e f g Ellenberger, Michel. "Biography", Ivan-wyschnegradsky.fr. Accessed January 26, 2025.
  4. ^ a b "Ivan Wyschnegradsky", IRCAM. November 3, 2024. Accessed January 25, 2025.
  5. ^ Jedrzejewski, Franck. Ivan Wyschnegradsky. Huygens-Fokker.org. Accessed January 27, 2025.
  6. ^ "БЕНУА (в последнем браке Бенуа-Клеман) Елена Александровна", www.artz.ru. Accessed January 28, 2025.
  7. ^ Ghent, Valerie. "Jacques Demêtre: discovering a blues historian in the family", ValGhent.com. December 28, 2013. Accessed 25 June 2020.
  8. ^ Vyslouzil, Jiri. "Ivan Vyschnegradskij, kapitolaze zapomenutych hudebnich avantgard", Opus Musicum 2. Brno, 1969. 36–40.
  9. ^ a b c d "Ivan Wyschnegradsky". Huygens-Fokker.org. Accessed January 27, 2025.
  10. ^ a b Järvi, Elisa. "Kohti uutta neljäsosasävelaskelpianoa" in KARTANOISTA KAIKKIEN SOITTIMEKSI II Pianonsoiton historiaa Suomessa. Taideyliopiston Sibelius-Akatemia, 2019. 175–188.
    Partially translated at "Quartertone Piano", Uniarts.fi.
  11. ^ "Quartertone Grand Piano". August-Foerster.de. Accessed January 25, 2025.
  12. ^ Rimski-Korssakoff (Rimsky-Korsakov), Georgy. "Theorie und praxis der reintonsysteme im Sowjet Russland" in Melos. January, 1928. 15–17.
  13. ^ Ader, Lidia. “Microtonal Storm and Stress: Georgy Rimsky-Korsakov and Quarter-Tone Music In 1920s Soviet Russia.” Tempo 63.250. October, 2009. 27–44.
  14. ^ Roycroft, Madeline. "Louise Hanson-Dyer’s 78 rpm Oiseau-Lyre recordings of the music of her contemporaries". University of Melbourne.
  15. ^ Hill, Jen. "Microtonal piano sounds: a 1930s audio recording and a unique score of Ivan Wyschnegradsky’s Ainsi parlait Zarathoustra in Rare Music", The University of Melbourne. June 23, 2017.
  16. ^ Fisher, Margaret. "A Rememberance". Ivan-Wyschnegradsky.fr. Accessed January 28, 2025.
  17. ^ Leuenberger, Susanne. "Kosmonaut der Mikrotöne". bka.ch (in Swiss High German). Retrieved September 1, 2022.
  18. ^ a b Wischnegradsky, Ivan. "Quartertonal music, its possibilities and organic sources [Method of notation. Harmonic implications. Concept of pan-sonority]". Pro-Musica Quarterly, Volume VI No. [1] I. October, 1927. 19-31.
  19. ^ Gann, Kyle. The Arithmetic of Listening: Tuning Theory and History for the Impractical Musician. University of Illinois Press, 2019. 209ff.
  20. ^ Wyschnegradsky, Ivan. Manuel d'harmonie à quarts de ton. Paris: La Sirène Musical, 1932. 3.

Further reading

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  • Ballif, Claude. "Ivan Wyschnegradsky: harmonie du soir". Premier Cahier Ivan Wyschnegradsky. Association Ivan Wyschnegradsky. Paris, 1985. pp 9–22.
  • Barthelmes, Barbara. Raum Und Klang: Das Musikalische Und Theoretische Schaffen Ivan Wyschnegradskys. Wolke, 1995.
  • Gayden, Lucile. Ivan Wyschnegradsky. Frankfurt: M.P. Belaieff, 1973.
  • Jedrzejewski, Franck. Ivan Wyschnegradsky Et La Musique Microtonale, Universite Paris 1 Pantheon-Sorbonne, France, 2000.
  • Dimitri Vichney, Notes sur l'évangile rouge de Ivan Wyschnegradsky, Cahier du CIREM, n° 14–15, 1990, p 186-223.
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